Category: Music

REVIEW: Pippin – 50th Anniversary Concert

Published on by Alice WoodhouseLeave a comment

Rating: 5 out of 5.

This concert performance of Pippin was a dazzling and immersive night – highly recommend this show for it was a true spectacle and a night you won’t forget

Pippin – 50th Anniversary Concert at the Theatre Royal, Drury Lane was a true spectacle and a fabulous night at the theatre. The music and lyrics of Pippin are written by Stephen Schwartz and the show was both directed and choreographed by Bob Fosse, someone I have admired since I was a young girl. 

Pippin is a hit musical that originally opened on broadway on 23rd October 1972. A show within a show, the story follows a cast of circus performers who are trying to find the perfect ending for their production of “Pippin”. Their story of Pippin follows the life of a young prince who ventures into the world on a personal quest for passion and adventure, whist also seeking the true meaning life, searching for his place in the world. This eclectic group of circus performers are desperate to entertain and bring the true magic to us all in our red velvet seats. With this multifaceted approach, the fourth wall is regularly broken as we are often spoken to directly by the Leading Player (Alex Newell) and are also playing the audience for their musical within the musical. Alex Newell, in her role as the Leading Player, was phenomenal. From her powerhouse vocals to her impeccable comedic timing, this woman held the audience in the palm of her hand. She brought so much comedy and fun to the entire evening with regular whimsical quips to the audience and her forceful nature towards the cast, especially poor Catherine. 

To witness this performance was something quite special. The level of talent on stage was remarkable. Jac Yarrow who played the role of Pippin gave an excellent performance. He was a total natural and shared a very convincing portrayal of this main character. The same goes for Cedric Neal, playing King Charlemagne and Ryan Heenan in his role of Catherine’s son, Theo. I thoroughly enjoyed Patricia Hodge and her portrayal of Pippin’s grandmother Berthe. The audience embraced her and her quick wit. She brought the characters humorous lyrics to life in her own unique way. Patricia also had such a warmth about her on stage that I felt we as the audience all fell in love with. Lucie Jones makes an entrance like no other, Lucie played the role of a widow and a mother called Catherine. She wowed us all with her stunning vocals, her intimacy with Pippin and her purposeful amusing delivery of her character as the doting and simple house wife.

In my opinion, however, two of the cast members stole the show. I found with both Idriss Kargbo and Zizi Strallen their spectacular stage presence was unmatched. 

Idriss Kargbo playing the role of Lewis, the kings other son, was captivating. I found myself drawn to watch Idriss even when he wasn’t the main focus of that particular scene. His portrayal of the role combined flamboyance and strength in an extraordinary manner, allowing him to take true ownership on the stage. He had a powerful finesse about him, despite playing the fool throughout, that made his character genuinely likeable and a joy to behold.

Zizi, the woman playing the role of Fastrada, was my absolute favourite to watch. She had all the characteristics of her role down to a T. She was sexy and feisty with a perfect balance of comedy. Her performance of “spread a little sunshine” was quite simply out of this world. Her level of talent was honestly jaw dropping. The energy and perfect pitch she maintained throughout this entire song was nothing short of masterful. If I remember correctly, after her dance break phenomenon, Zizi was then thrown into the air, lifts her head and delivers an astonishing high note that I could not believe. I let out a huge cheer in that moment. As a singer and a dancer myself I know how incredibly hard that is to pull off and she just delivered. 

The female dancers were exquisite. Gleanne Purcell-Brown and Sally Frith were both incredibly strong with a balance of feminine flare throughout their entire performance. They each had a unique fire and joy within their stage personas and were an absolute pleasure to watch. Regrettably, if I’m being totally honest, the male dancers could have brought more strength and power to their performance. Witnessing such a high level production, I expected more from them in regards to strength, accuracy and dynamics throughout the choreography. However I believe they are more than capable of all the above and each of them had excellent stage presence. I also felt some of the group dance sections needed to be much tighter and cleaner. It wasn’t quite the precision I expected to see particularly from this Bob Fosse Choreography. It was not as slick as I’d have hoped, however there were moments of greatness and hopefully their next performance is filled with more precision and unity.

Last but not least the Musical Theatre Orchestra and The ArtsEd Choir were stunning and elevated the entire sound of the show. Whilst I realise this was a concert version of Pippin, and perhaps that’s why they held the entire orchestra and choir on stage, I just felt it was unnecessary for them to be placed there. If the choir and musicians facial expressions matched the scene at hand this may have had a more positive impact and given the concert style production an elevated dimension. Sadly, they looked pretty miserable for the majority of the performance, this could have been an attempt to ensure they were not pulling focus from the performers at centre stage, but this had the opposite affect for me and indeed occasionally drew my attention away from the cast.

In spite of these minor shortcomings, my overall perception of this concert performance of Pippin was that of a dazzling and immersive night at the theatre, and I’m so grateful to have experienced this. I highly recommend this show “for a climax you won’t forget”. 

REVIEW: Outlanders

Published on by Antonia ConstantinLeave a comment

Rating: 5 out of 5.

From the preserved traditions of Scotland to the transformative experiences of migrants, this captivating showcase illuminated the intricate interplay between past and present, offering a profound meditation on the enduring power of music to unite, inspire, and transcend.

Outlanders at Kings Place, a remarkable show part of the Scotland Unwrapped season, unfolded as a deep exploration of Scottish cultural migration phenomenon of the 18th and 19th century, driven by the collaborative brilliance of Nico Muhly, Robyn Stapleton, Sam Amidon, and the Aurora Orchestra. The title “Outlanders” provided a fitting starting point for me before entering the auditorium to meditate on the themes of migration, cultural adjustment, and the human condition and to anticipate the motifs that appeared to endure within the collective consciousness during this traumatising transmutation process. Music served not only as a narrative tool but also as a medium through which nostalgia, trauma, and the transformative impact of cultural expression were brought back to life, dissected, and then reinvented. 

Robyn Stapleton, whose ethereal vocals and commanding stage presence served as a instrument to the soul of Scotland, effortlessly transported the audience to a bygone era, infusing each song with a deep sense of reverence for tradition. She affectionately introduced Burn’s My Love is Like a Red, Red Rose as “an old friend” revisited, emphasizing her intimate connection to the material. 

The symbiotic relationship between Nico Muhly and Sam Amidon was evident throughout the evening, a proof of their shared artistic vision and years of collaboration. Together, they breathed new life into traditional songs. The Only Tune, a reworking of The Two Sisters murder ballad already sang by Robyn and Sam minutes before, was in my view the star of the evening. Clocking in at an impressive 15 minutes, was a tour de force of emotion, traversing a spectrum of feelings from sorrow to terror to eventual triumph. The traditional folk ballad is deconstructed in three segments. The performance commenced with a slow, mysterious prelude, evoking a sense of foreboding. Sam resembles a storyteller struggling to compose his thoughts. As the song unfolded, it took a dark and unsettling turn, mirroring the horrifying actions of the miller, amidst a cacophony of discordant sounds. The final segment saw a dramatic shift in tone, as the music became brighter and more hopeful. Though tinged with echoes of grief and terror, there was a palpable sense of resilience in the air, a testament to the human spirit’s ability to transcend even the darkest of tragedies. 

In the wake of the performance, one thing was abundantly clear: Nico Muhly’s genius was on full display, leaving an indelible impression on all who bore witness to his artistry. His ability to deconstruct and reinterpret tradition with such finesse was nothing short of revolutionary, offering a fresh perspective on age-old classics. 

The Aurora orchestra, through its seamless fusion of instruments,  navigated the delicate balance between tradition and innovation with precision, drawing the audience into a timeless realm where ballads became vessels for cultural expression.

There is no doubt in my mind that this was a transcendent journey through time and space, where culture served as a conduit for connection and understanding. From the preserved traditions of Scotland to the transformative experiences of migrants, this captivating showcase illuminated the intricate interplay between past and present, offering a profound meditation on the enduring power of music to unite, inspire, and transcend.

REVIEW: Shostakovich’s Symphony No.5 and more

Published on by Juliet PoneLeave a comment

Rating: 5 out of 5.

It was a privilege to listen to the Royal Liverpool Philharmonic Orchestra, with well-loved classical masterpieces accompanied by a thrilling world premiere of current talent.

It was a privilege to listen to the Royal Liverpool Philharmonic Orchestra (RLPO) on Thursday evening. Domingo Hindoyan conducted the already well-loved classical pieces Bacchus and Ariadne, Op. 43: Suite No.2 by Albert Roussel, and Dmitri Shostakovich’s Symphony No.5 in D minor, Op. 47 as well as  the exciting world premiere of Eleanor Alberga’s first piano concerto, performed by Leeds International Piano Competition 2021 winner Alim Baisembayev and the RLPO. 

Alberga’s new concerto had to be the highlight of the night. Hearing a new, beautiful piece performed live for the first time by such an accomplished and exciting pianist was quite the honour. The concerto, split into four distinct movements, was commissioned especially for Baisembayev as part of the Royal Liverpool Philharmonic Society Contemporary Prize, and the crowd applauded rapturously for several long minutes as Hindoyan, Alberga and Baisembayev took their bows together before the interval. My favourite was the slow third movement, in which chimes resonated like the call of a large cathedral bell, and the piano often called to mind the sound of running water. Though there is no set narrative behind Alberga’s concerto, it was nevertheless very emotive and it was easy to let your imagination run wild while listening to create a personal narrative to the highly dynamic music.

The three pieces performed across the evening flowed well thematically and were flawlessly performed, in accordance with the RLPO’s reputation. Bacchus and Ariadne is swiftly coming to be considered a signature piece for Hindoyan after its inclusion in his critically acclaimed 2022 debut album, and was the opener of the evening. Composed in 1930 as part of the ballet Bacchus and Ariadne, The Second Suite makes up the second half of the story, where a distraught Ariadne throws herself from a cliff on the island of Naxos after being abandoned by the hero Theseus, but is caught by the god Bacchus. They fall in love, and she is eventually welcomed to Olympus as a goddess. The piece has some beautiful, romantic sections for strings that conjure up the swift, elegant rhythm of the ballet dancers even when listened to in isolation, but is as changeable and full of contrasts as the mischievous trickster god himself, with some big, bold sections interspersed. Shostakovich’s Symphony No.5 is the perfect showstopper. It was composed in 1937 after Stalin himself denounced the composer’s most recent opera. This symphony and its reception was quite literally a matter of life and death for Shostakovich, and this lingering threat can be heard throughout with a dark, menacing first ‘Moderato’ movement including ominous percussion and brass, as well as more mournful string sections in the third ‘Largo’, before finishing with triumphant fanfare. It was a rousing and moving listening experience that showed off the best of the RLPO, making a bold finale to a highly accomplished evening.

REVIEW: Unfortunate – the Untold Story of Ursula the Sea Witch

Published on by audreyay23Leave a comment

Rating: 5 out of 5.


Chaos that should only be invited with open tentacles

We all know the story of the Little Mermaid – Ariel yearns to explore the world beyond the sea and strikes a deal with the evil sea witch Ursula, trading her beautiful voice for human legs. Ariel spends time with the young prince Eric on land, they fall in love, blah blah blah. The plot thickens as a cunning plan to sabotage occurs, and many incidents ensue. Ultimately, Ariel achieves her happy ending and Ursula unfortunately bites the dust. It’s the classic “good guys always win and bad guys always lose” trope. 

But what if, and just what if, the villains were never evil to start with?

Unfortunate paints a new perspective on this fairytale, where our favourite sea witch Ursula (Shawna Hamic) now becomes the protagonist. Here, she comes out of the dark shadows to give us her take of what really occurred in this kooky series of events. And what is the best way to tell a story, if not by song?  Designed to be a satirical parody of the Disney classic, the performances are filled with a campy atmosphere, filthy humour, and songs that are truly not age-appropriate. One of the songs is literally titled, “Where The Dicks Are”, and happens to be one of my favourite songs out of the bunch.

From the start to the end, Ursula is portrayed as misunderstood character: a queer, intelligent girl shunted by the world due to her humble upbringing and her unconventional looks as an octopus. From falling in love with the prince of Atlantis to being framed for murder of a princess, the audience begins to understand that the fall of Ursula was never the result of an inherent wicked personality; she was merely a product of circumstances beyond her control. Despite so, she grows up to be independent and ferocious; with the brains, brawns, and the curves. Never once did Ursula show any signs of weakness throughout the story, and I found myself rooting for her throughout the show. 

The plot itself first touches on many key themes associated with Ursula, such as body positivity and female empowerment. It brings awareness to female representation, emphasising how a lack of this can affect women in their formative years. The self-awareness of the show makes it even more special, as it converts classic soundtracks into what can be best described as, “nostalgic sounding, but the lyrics are actually more relatable this time as a normal adult”. It completely crosses the line that Disney dare not cross as a family-friendly company, and in my opinion, makes the story so much more interesting with its twists, turns, and outright LGBTQ+ representation. 

There were so many things that impressed me in this musical. From the phenomenal acting to the perfect lighting, to the set design; everything was absolutely stunning. I would like to highlight every single cast member in this show – they had their respective opportunities to be under the spotlight, and oh boy, did they shine, alright! I could think of various small scenes and quotes for every character, from the fantastic ad-libs provided by River Medway in Ariel’s jaw-dropping solo to the exceptional performances of Allie Dart as Colette and Floatsam (or was it Jetsam?). Words literally could not express how much love I have for everyone here, and they are thoroughly deserving of all the praise they get!

Despite being nearly three hours long, I could not get enough of every single moment. I truly wish I could turn back time so I could watch it for the first time once more. It is absolutely hilarious, and a must-watch if they are ever in town near you.

Photo by Craig Fuller

REVIEW: USHERS: The Front of House Musical

Published on by Lula VerLeave a comment

Rating: 4 out of 5.

A lively, entertaining, and witty portrayal of life behind the scenes at the Front of House

If you believe there is only one play that takes place in the theatre each evening, let me tell you, there’s more. USHERS: The Front of House Musical presents, in a dynamic and humorous manner, the real-life drama unfolding on Stage Two: The Front of House.

USHERS premiered in 2014 at the Charing Cross Theatre, with music by Yiannis Koutsakos, lyrics by James Oban and Yiannis Koutsakos, and Book and additional lyrics by James Rottger. Ten years later, we get the privilege to be a part of the revival at The Other Palace.

This original play immerses the audience in a reality familiar to anyone working in the arts and entertainment world: artists with big dreams and hopes of “making it” in an industry that can be as rewarding as it is tough. The audience witnesses these narratives in a sensitive and sometimes hilarious way, empathising with each character as they share the challenges they face and the choices they must make to fulfil their dreams while also living a balanced and happy life. Moreover, they must navigate the expectations of their work, never forgetting to wear their best smile.

The music is thoughtfully crafted to convey the personal story of each character, reflecting their unique personality and background. The songs are an opportunity for enjoying the solid vocal technique and versatility of each cast member. Musical elements cleverly support the drama, joy, or awkwardness displayed in each scene, with subtle hints of comedy and references to well-known tunes that may evoke a wry smile.

Regarding the set and use of space, the stage is relatively small, situated in the corner of the studio with two fronts to face (lower and upper seats included). However, the creative team has made excellent choices in maximizing its potential to the fullest extent. They utilize the right selection of set elements, props, and audiovisual resources to tell the story. The choreography design for this musical not only showcases the cast’s triple threat talents but also succeeds in optimizing the available space effectively. The clever use of both on-stage and off-stage areas, particularly given the storyline’s focus on ushers, adds authenticity to the narrative and enhances the immersive experience.

The cast does an incredible work in portraying their characters through acting, dancing, and singing. The characters Rosie, played by Bethany Amber-Perrins and Robin, Daniel Page, in particular, stand out, demonstrating impeccable talent and comedic timing. The playful references to the theatrical and entertainment world, as well as updated gags in the dialogues, add an engaging touch to the plot.

The dedication put into creating a new and fresh theatrical production is always commendable, especially when it results in a play that offers laughter and moments of irony and wit. USHERS is an excellent choice for those seeking an enjoyable evening out and a fresh perspective on the theatrical world.

Photo by David Monteith-Hodge

REVIEW: London Schools Symphony Orchestra

Published on by nancynewberry1 Comment

Rating: 4 out of 5.

The masterful musicality of the LSSO was a delight, the programme was well balanced, with a range of contemporary composers

It’s been a long time since I last went to a classical concert and the London Schools Symphony Orchestra (LSSO) was a wonderful reintroduction to the classical world. 

The programme was well balanced, with a range of contemporary composers. The first piece, Nautilus by Anna Meredith (arr.Jack Ross), was a contemporary “genre-busting” introduction to the concert. This piece brought the Barbican to life with an energetic but sensitive performance from the young musicians. Enyi Okpara the LSSO’s Conductor in Residence for this year did a fantastic job of commanding the orchestra. With incredibly complex rhythms, the intense connection was evident between the orchestra and the conductor producing just the right dramatic effect. The booming brass and range of percussion made this a brilliant opener to the performance. 

The second piece was Václav Talich’s arrangement of The Cunning Little Vixen. I had seen this opera when I was very young and was excited to hear this arrangement. Once again, the LSSO did not disappoint. Delicately and precisely conducted by Dominic Wheeler, it truly was a joy watching the bows of the perfectly timed string section move together during the emotive movements of this piece. This piece also demonstrated the thoughtful and brilliant skills of Amit Segev, the leader of the orchestra, during the call and answer moments between the strings and the wind section. The whole orchestra told the story delightfully and it was as thoroughly enjoyable. 

Finally, after the interval, the audience was served with Bluebeard’s Castle by Béla Bartók. Unfortunately, I find Bartók to be notoriously inaccessible. The melodies struggle to carry such an elaborate story and the comparison to the fun and light pieces in the first half made this more of a struggle than a balance. The programme excelled in its variety between the first two pieces, but the gear shift to Bartok was not the way I would want a programme to end. I also felt that having a second half of a concert far longer than the first half was a dubious choice. You give the performers a harder battle to keep the audience engaged and by the end I was quite ready to get home rather than leaving feeling energised as I did at the interval.  

Whilst the programme could have been improved, the orchestra and especially the singers did well to carry the Bartók along. The dramatics of Shana Moron-Caravel’s Judith were deliciously rich whilst being perfectly placed to keep the audience engaged in the challenging music. There were times where I would have liked the orchestra to be slightly more balanced with the volume of the vocals as it was easy to lose some of the diction over the accompaniment. This added to the inaccessibility of the music. By comparison Alaric Green’s booming and stoic Bluebeard was hard to miss. His ability to portray this cold, walking red flag of a pirate through the music was excellent and again helped to keep the audience’s attention. Whilst the music was not for me in the second half, the masterful musicality of the LSSO was not one to miss and they have a creative energy and spontaneity sometimes lacking in many larger professional orchestras.  I would welcome hearing more of their repertoire in the future!

Photo by Marc Brenner

REVIEW: I Should Be So Lucky

Published on by roisinlystLeave a comment

Rating: 3.5 out of 5.

Camp, contagious and hilarious: a musical full of energy and iconic songs

I Should Be So Lucky is a musical which centres around a young bride named Ella, jilted at the altar, who decides not to waste her honeymoon but instead takes her family and friends to the lovers’ paradise in Turkey. The plot was ridiculous, and became increasingly so as the show went on, but the show was undeniably packed with energy, glitter and fun.

The whole cast were fabulous and played their roles to the maximum, even Kylie Minogue herself, who appears on a screen as a figment of Ella’s imagination. She acts as a sort of fairy godmother to Ella throughout the story, which added yet more cheese to the storyline, but for all the Kylie fans in the audience was probably a great addition. For me, the stand-out actor was Giovanni Spanò, who played Ash, the best man. His charisma, comedic timing and mannerisms had the audience howling with laughter – but he wasn’t the only one. The whole show was funny from start to finish and there was never a dull moment, which can’t always be said of other musicals. Jamie Chapman, portraying Spencer, the fussy, camp manager of the resort, was also a favourite, and Kayla Carter, who played Bonnie (Ella’s best friend) was the stand-out singer, bringing the house down with ‘You’ll never stop me loving you’. 

Alongside this were dozens of iconic Stock Aitken Waterman songs impossible not to sing along to, including ‘Never gonna give you up’, ‘You spin me round’ and ‘Love in the first degree’, which the audience of course lapped up. By the end, everyone was up singing and dancing. I thought the choreography was extremely well-done and certainly one of the reasons this show was full of energy, which made sense when I read it was choreographed by Jason Gilkison: the lead choreographer of Strictly Come Dancing. The band too were faultless, and both the costumes and the heart-shaped set were perfectly suited to the show, with no shortage of pink and sparkles.

I felt the characters were all written taking stereotypes to the extreme: the fussy mum, the wild child Grandma, the flamboyant gay friend and the ‘always the bridesmaid’ best friend were all clearly defined. The zest of all the supporting personalities made the actual bride and groom quite boring characters in comparison. There were many little storylines branching off from the main story which were all somehow predictable, cliché and over-the-top, which was a clear theme to this musical. I wouldn’t describe it as well written, but I can’t deny, I had a great time watching it.I can’t recommend this show to everyone: I know my dad would be rolling his eyes. But while it was mostly middle-aged women in the audience, I would recommend it to anyone who loved ‘Mamma Mia’, is a Kylie fan, or just wants a fun night out and doesn’t mind a bit of cheesiness.

REVIEW: SoundWalk: A City Full of Stories

Published on by Ben BreenLeave a comment

Rating: 3 out of 5.

A pleasant half hour exploring a small pocket of the West End

A soundwalk is a guided walk exploring the intersection between location and sound. In this case, landmarks around Charing Cross are paired with orchestral music and lyrics. Starting at St. Martin in the Fields, A City Full of Stories takes participants around the hustle and bustle of London’s West End, and shows how quickly this can transition into serenity when you know the perfect side street to duck into. The resulting half hour provides a nice walk alongside a pleasing musical accompaniment.

Having been designed in collaboration with people experiencing homelessness, alongside members of the academy at St. Martin in the Fields and the Royal Academy of Music, the map takes in several key areas for the homeless in the Charing Cross area. At each new location, a track is triggered which prompts the listener to view their surroundings from a different perspective. As the walk winds on, these nudges become more explicit, focusing on the hidden lives of the people and places around you.

Initially, the soundwalk is easy to set up, downloading the free Echoes app uses your phone’s GPS to cue in the music when you reach the appropriate location. I found this quite unreliable, however, and resorted to looking at the map and manually selecting which track to play – an experience made harder by one track being out of place on the playlist (the fourth track hides at the end).

Even with this immersion broken, however, the musical backing affects the ‘feel’ of the walk more than I was expecting. Walking down Henrietta Street to a rousing score felt like it was ripped straight from cinema, even if it was disrupted by a pedicab rider blaring out Britney Spears not 30 seconds later! The walk returning to St. Martin in the Fields swells with a wonderful hopefulness that rounds out the narrative to a nice conclusion.

Many of the spoken sections focus on imagining the stories of the buildings and people around you, but this seems to fight against, rather than embellish, A City Full of Stories’ engagement with the homeless experience. This second theme is the more compelling, and it’s nice to have locations I predominantly associate with food drops and rough-sleeping recontextualised, but it would have been more effective to dwell on these ideas for the full walk rather than pivoting to consider “hidden lives” every few tracks.

Overall, if either the “sound” or the “walk” element of A City Full of Stories appeals to you, then combining them for a “soundwalk” does make them feel more special. The result is a pleasant way to kill half an hour in the West End, if nothing else.
A City Full of Stories is free to complete, via the Echoes App, and more details can be found here. NOTE: Completing the walk before 5:30pm gives a more scenic walk through St Paul’s Churchyard.

Photo by Natasha Vasandani for Grey Beanie Productions

REVIEW: Hits and Pieces #5 (Spice Girls)

Published on by Manmeet K WaliaLeave a comment

Rating: 4 out of 5.

 Every performance unveils a world of laughter, reflection, and no secrets kept!

Hits and Pieces #5 (Spice Girls), brought to life by the Matchstick Theatre Company, delivers a joyous and inventive concept where writers craft compelling narratives inspired by beloved songs. In its fifth edition, the spotlight shone brightly on the iconic Wannabe track by the Spice Girls, igniting a jubilant celebration of music and nostalgia.

Within this vibrant showcase, audiences were treated to four distinct plays, running for approx. 15 mins each, ingeniously drawing from the infectious energy of the Spice Girls anthem. These productions delved into a rich tapestry of themes, from the complexities of relationships to the quest for individual identity, all while skilfully blending humour with poignant reflections on weighty subjects.

The creative synergy between the timeless melodies of Wannabe and the inventive storytelling showcased in each play was palpable, infusing the evening with an irresistible charm. Through witty dialogue, dynamic performances, and imaginative staging, the production breathed new life into familiar tunes, leaving audiences both entertained and deeply moved.

The first play, Gotta Get with My Friends, written by Sophie Underwood and directed by Mark Daniels, featured a comedic performance by Aaron Phinehas Peters and Emma Read, who also happens to be the playwright of the third play. Their delivery, brimming with witty references to Spice Girls lyrics such as if you wanna be her lover, you gotta get with her friends, left the audience in stitches. Amidst the laughter, the script adeptly tackled profound themes of infidelity and the intricate dynamics of contemporary relationships. The play delved into issues faced by couples and men, skilfully weaving in elements of mid-life crisis and the necessity to rejuvenate relationships.

In contrast, the second play, ‘Ginger’ written by Annette Brook and directed by Natasha Vasandani centred on women’s issues, featuring a black protagonist recounting her experiences while waiting in line at Boots. Performed through a combination of monologues and dialogues by Roli Okorodudu, the play illuminated underlying themes of race and identity, skilfully weaving the influence of the Spice Girls into its narrative.

The third play, ‘Tomorrow Land Tomorrow Land Tomorrow Land’ took a humorous jab at serious cults and obsessions, drawing parallels to Walt Disney and exploring the concept of nostalgia and its effects on society. With witty dialogue and clever satire, the play entertained while also providing thought-provoking commentary on our cultural obsessions.

And the fourth performance, ‘Friendships Never Ends’ took a unique approach by personifying objects from a Spice Girls pencil case, engaging in a conversation about memory, time, and the transition from childhood to adulthood. Through the interactions between the pencil and rubbers, the play poignantly captured the passage of time and the bittersweet nostalgia associated with growing up.

Throughout the entire evening, the first play remained my personal favourite. However, what truly captivated me about the show was its concept. Hits and Pieces presents each set of short plays only once, introducing an element of ephemerality to the experience (provides a sanctuary where no secrets are kept hidden! ;)) It’s intriguing to contemplate how the writers, directors, and performers seamlessly transition between roles, wearing many hats within the production. Moreover, the audience’s involvement in selecting the song for the next performance through a public vote adds an interactive and dynamic dimension to the show. showcase of artistic talent but a testament to the transformative power of music and theatre in exploring the human experience. 

Their next performance is slated for June, celebrating the pride month. Stay tuned to their social media channels for updates and announcements!

REVIEW: Chisholm for President!

Published on by Lucy BoardmanLeave a comment

Rating: 4 out of 5.

 A gorgeous selection of songs and an incredible concept for a brand new piece of musical theatre!

A new musical with music and lyrics by Testament and book by Zodwa Nyoni, Chisholm for President! tells the story of Shirley Chisholm, the first Black woman to be elected to Congress in 1968, and to run for nomination of President of the United States in 1972. 

Born Shirley Anita St. Chisholm in 1924, to Bajan immigrants, Chisholm was a founding member of the Congressional Black Caucus. She advocated on behalf of women and minorities, stood for Gay Rights and environmental protection, fought against Child poverty, and opposed U.S. involvement in the Vietnam War. Chisholm served the United States House of Representatives for seven terms, from 1968-1983 (91st-97th Congresses) and passed away in 2005. 

First developed by Leeds Studio, this production’s live band, including: saxophone, drums, percussion, violin, guitar, bass, and trumpet, create a beautiful atmosphere, filling the Purcell Room of the Southbank Centre with funk, soul, and jazz of the 1960s.  Writer and composer Testament said:“Musically I wanted the sound and orchestration to be as authentic to the era as possible, like you are listening to a record live from 1968!”. 

Madeline Appiah wows as Shirley Chisholm, with her beautiful voice, emotion, and fantastic characterisation bringing Chisholm’s passion, hope, frustration, and determination to the stage. The vocal ensemble create beautiful harmonies, with some heartfelt standout solos, and a particularly inspiring number with the motif ‘When They Go Low, We Go High’ by Rachel Modest. Justina Aina’s song portrays the trials of being a congressional aide and being far from home on a presidential campaign. It is moving and showcases impressive vocals, whilst Pauline Tomlin’s solo as Chisholm’s Grandmother shows brilliant emotion and allows the audience to further understand Chisholm’s childhood and who she was.

The triumvirate of Ryan Harston, Testament, and Solomon Gordon portray male Black Caucus members in congress with an exciting three part polyphonic number fantastically depicting the way Chisholm’s peers were largely unwilling to support a women as the Black Caucus presidential candidate, emphasising the intersectionality of Chisholm’s gender along with her race. 

Milly Blue narrates the way in which predominantly white feminist activists such as Gloria Steinham  and Betty Friedan’s support wavered between firmly backing Chisholm to later withdrawing as they didn’t feel she could win. The production highlights the barriers Chisholm faced from both white feminists and black male colleagues and beautifully portrays Chisholm’s unwillingness to diminish her identity to appease others; she was proud to be a Black Woman and refused to compromise  her beliefs and what she stood for. 

This production also highlights the different demographics Chisholm received support from throughout her campaign, with Kat Govedarica portraying the student and LGBTQ+ community, who in Chisholm found a candidate that they wanted to support. 

This musical’s most empowering moment is when, as Shirley Chisholm realises she has not been successful in her bid to be a Presidential candidate, she questions what the point is? What did she achieve? The audience sees videos of young women in the present all declaring that they are running for President and demonstrates the inspiring legacy Chisholm left for those that came after her, for young black girls, for Hispanic, Native American, White, Mixed Race, Asian, Immigrant, and all women, to see that they could stand for President and make a difference. In a political establishment that didn’t, and often still doesn’t, want to hear the voices of women, particularly women of colour, Shirley Chisholm demonstrates that it is important those voices are heard.

 Playwright Zodwa Nyoni said:

“Shirley Chisholm left a great legacy as a Black woman in life and politics. Against the odds and doubters, she remained true to herself and her ethics. Her message stands the test of time.”

Chisholm for President! was also performed in Leeds on Friday 12th April as part of its work in progress presentations. The team aim to secure support and collaborators to turn Shirley Chisholm’s story into a full-length musical, and with its gorgeous Soul and Funk score and inspiring story of hope and dedication it deserves an exciting future and to be seen by more audiences!