A Colourful and Magical Piece of Theatre - Indigo Review

 To a casual observer, a new musical may not be something that ever crosses your radar, unless of course that musical then blows up into a phenomenon that gets everyone, even the people not so crazy about the theatre, talking.

I will be honest, seeing a new musical wasn't really a thing for me until a few years ago, and by new musical I don't mean seeing a musical I had never seen before, but a musical that was not even on the public sphere of knowledge, or one that had been newly created for a specific stage. I was a bit of a crowd follower and, to some degree, I still am, which is why I felt had to come out of my comfort a little bit and try some new shows. 

"Indigo" is a play currently on at The Curve Theatre, Leicester. It is a new musical that tells the story of a couple, Rick and Beverley, who bring Elaine, Beverley's mother, home to live with them as she is in the throes of early Alzheimer's. You would think that would be a emotional topic all on its own, however the situation becomes even more stressful when Beverley's daughter, Emma, moves back home.

Why is that stressful, one might ask? Well, Emma is autistic, and non-verbal, but also a specific type of autism called synaesthesia, which is a perceptual phenomenon where stimulation of one sense triggers experiences in another sense. In this case, what Emma hears translates into colours, and this was portrayed very sensitively and with great attention to detail on this production. 

Autism has rarely been played well in the media, as perhaps better experts than I can attest, but this piece of theatre was both written and played beautifully well. Every song crafted for Emma's character, portrayed so fantastically by Katie Cailean, was almost specifically designed to punch you in the heart. There were themes across the musical that I think everyone can relate to, such as loss, family, and identity, whilst at the same time devoting itself in detail to the issues that maybe not everyone can relate to, to get the audience to understand and empathise and therefore will follow the journey that is being portrayed. 

Katie played Emma with such care and attention, that even when she was singing, and coming away from the non-verbal aspect of her character, there were still little actions that had been introduced with her character that made up who she was that she kept in place the whole time, so that even as she was letting you into Emma's mind, you never forgot how the outside world saw her, and what her biggest struggles were, and what was really important here was how they shied away from playing on stereotypical tropes, such as the idea that people with Autism are difficult to understand and relate to, and therefore are not worth getting to know. Emma was likable and funny and cheeky as well at times, and therefore when she did have the odd meltdown you felt compelled to protect her, not shun her. This to me is the main difference in if any sort of representation is good or bad. 

Beverley and Rick, played respectively by Rebecca Trehearn and Nuno Queimado, were so relatable, and this is a credit to Rebecca and Nuno, because you genuinely felt like you were looking at a married couple and seeing snap shots in their life, and even though they both had low and high moments throughout the show, that's what sealed them as very relatable individuals. Rebecca stole the show in so many moments with her powerful voice, but then Nuno would match that energy by not only creating a warm and safe energy, but also delivered some comedic moments that helped deliver that family dynamic on stage.

Lisa Maxwell played Elaine, Beverley's mother, and whilst the majority of the world may know her from The Bill, for me I will always remember her in this role. She had a beautiful and sweet singing voice too but to me her biggest strength was in her facial expressions, how she could switch from being in the moment, to being somewhere else, in a heartbreakingly familiar scenario to anybody with loved ones who have or have had any form of Alzheimer's. In one scene, without giving away spoilers, there was a defining moment where a look of love and recognition went away in a single flicker, and was replaced by fear, and anger, and it took my absolute breath away because I found myself hurting for the characters in that moment. 

The supporting characters of Alicia and Tyler, played by Tania Mathurin and Hugo Rolland, were also enjoyable to watch and helped provide even more dimensions to an already well rounded show. Tyler's enthusiasm for comics, helped create some lovely moments with him and Emma,  and Alicia's non-judgmental approach with Beverley, as a social worker, was a beautiful reminder that when we are not trying to hold everyone to an impossibly high standard, even if we are not perfect ourselves, the thing we do best as humans is being supportive, which can only lift us higher when we need it the most. 

Tania and Hugo were both astonishing performers, with equally strong and powerful voices, and they elevated the material given to them and made them feel like real characters you would love to know and be friends with. I do think that's an underrated characteristic of a musical; it's nice to have characters to jeer at and demonise, but don't underestimate the power in rooting for someone and having them succeed, which led to two of the most beautiful scenes in the musical, one was between Rick and Emma, the other between Beverley and Emma, and I will say no more for fear of giving spoilers. 

Overall, this was a show that spellbound me in ways I wish I could describe better. What's amazing is it's a one act show, so there's no time to digest or absorb everything: you are in the moment with this family until the end. I was in tears for a good third of it, and I think that speaks not only to the cast, but to the crew and director, and the music and lyrics. 

The staging as well was amazing, particularly as it was in a studio room. It would not have felt out of place on a bigger stage, even if you may have lost the sense of being up and close and personal with the cast. The concept of colour plays a big theme, as you would expect, and even when you were not being hit by colour and sound and light, the darker, more subtly lit scenes, made perfect sense given what was happening, and what I like as well is that the title of the musical doesn't necessarily make sense until the very end scene, and then it hits you like a tidal wave of emotion. 

A fantastic new show that I will be seeing again. It plays until the 19 July and tickets can be purchased here https://www.curveonline.co.uk/whats-on/shows/indigo/ If you like moving shows with a beautiful soundtrack and fantastic staging, this is 100 percent the show for you.

⭐⭐⭐⭐⭐

These Are A Few of My Favourite Songs

 In a different sort of post, I thought I would let people know what my most listened to musical songs are and why, and what I would recommend you listen to, even if you may never ever see the musical it's from. 

These are in no particular order, and I hope you give them a listen at some point if you're a theatre or musical fan. I am under no illusion that every theatre show I love will be universally loved or appreciated, but that's the beauty of theatre : there are shows for everyone, but not every show is for everyone. 

Seize the Day - Newsies 

This is a song I feel that is even more relevant today than it's ever been. It's a song that starts off slow but has a rousing chorus that can't help but make you feel connected to your fellow human beings, particular those in similar struggles to yourself. The Broadway version is I think the only one available (for now) so please do check this out, and just the Newsies soundtrack in general, as there isn't a skippable song on there (in my view). 

Dying Ain't So Bad - Bonnie and Clyde 

If you're familiar with the musical of Bonnie and Clyde, you know this comes at a particular poignant moment towards the end, and it is an eerie foreshadowing of what's to come. What I love about this particular song is that it's a very slow and sad ballad, but there are some uplifting moments in it that can't help but inspire to live your life with passion and excitement. The line I'd rather breathe in life than dusty air, encompasses not only the spirit of the musical but also I think an attitude we should all have. 

Any Dream Will Do - Joseph and the Amazing Technicolour Dreamcoat

This is one of those songs that even if you're not a musical fan, you may well recognise, as this musical has become so well ingrained into our culture that it always is playing or touring somewhere in the world. I must admit the reprise of Any Dream Will Do always makes me feel choke up whenever I see it on stage. I will never be able to explain why this musical touches me the way it does, except it makes up a lot of childhood memories, and I suspect it's one I could recite in my sleep, I know it that well.

A Little Life - The Curious Case of Benjamin Button

This musical is a gorgeous little piece of theatre, and this song is one of my favourites because it is all about seizing the day and living life, what little we have, to the fullest. The whole soundtrack is now available on streaming services, and if you like music with a west country and folkie twang to it, this is a soundtrack for you.

Heart of Stone - Six 

It's hard to pick just one song from Six to represent my love for this show, but this is a song that calls to me time and time again. This is centered around Jane Seymour's story, and her love for Henry and her son, and every time I see this show in a theatre, I am always transfixed whenever this song comes on. It's just so raw and beautifully composed. 

Wait for It - Hamilton

Hamilton boasts an impressive repertoire of songs, but this one is such a powerful gem of a song. With powerful lines such as I am inimitable, I am an original, and I am the one thing in life I can control, I think this is a song that anyone could relate to and be inspired by, because it is true: we can't control other people's actions, just how we respond and react. 

Born to Lead - Operation Mincemeat 

This is also a musical with multiple amazing songs, and is a true inspiration of the theatre world as not only has it gone from the Fringe festival to the West End, it is now in America on Broadway and has been nominated for Tony Awards! This particular song was the first one I really loved, which is handy as it's the opening song, but I think it sort of sums up the personality of all the characters quite nicely as we are introduced to them, but also is a very upbeat composition, which I think always makes for a strong opener in any musical

I Say No - Heathers

Heathers has become a really popular musical over the years. A lot of the soundtrack is very angsty, but very much reflective of the high school experience. This is a powerful song about reclaiming back the power of "no" and using it to end a very dysfunctional relationship. Considering it wasn't in the original version of the musical and was added in way down in the process, it has become a staple of the musical and easily a fan favourite. 

Wait for Me -  Hadestown

This song is a mix of spoken narrative and singing, that echoes the main character, Orpheus's, deep desire to be with Eurydice and to find her in the underworld. Lyrically, there's not much to the chorus, but the reason I think it's become a fan favourite, and why I really like it, is it's a song that creeps into your brain and settles there as an earworm. It's a gentle chorus but it's juxtaposed with the narrator telling the story to the audience in between, and creates quite a nice balance between story and song. 

Defying Gravity - Wicked

An iconic song that needs no explanation as to why it's a masterpiece of a song. Yes people have tried and failed to master that last riff, but it's a culmination of everything that makes a musical epic: a great build up, powerful lyrics, and a melody that can transcend you to that moment on stage, no matter where and when you listen to it. 

Dancing Queen - Mamma Mia 

A bit of a cheat here, because it's an ABBA song rather than a musical song, but I feel it deserves a place here because I always feel seventeen when I hear this, no matter whether I am on a dancefloor or at the theatre. This will never be a skippable song for me. 

I Am Me - Starlight Express 

For Andrew Lloyd Webber fans you may observe this wasn't on the original soundtrack. This was added to the new show launched in 2024, but the reason this song makes the list is because now, more than ever, I feel it's very relevant because it celebrates individuality, and champions being exactly who you are and holding your head up high. It's also catchy and could easily be a pop single on its own. 

Waving Through a Window - Dear Evan Hansen 

If you have ever felt invisible, or like the world would forget about you if you ever fell out of viewpoint, this song is for you. It's a heartbreaking number in a show that has a number of angsty and emotional songs in its score, but the reason this makes the list is that it's a show I have related to many times in the past, but not so much anymore, and sometimes it's good to reflect on those low moments to remind yourself that things can get better, will get better, or have gotten better, depending whereabouts in your life you sit mentally. 

Honorable mentions:

You Will Be Found - Dear Evan Hansen 

Six - Six 

Everything's Alright - Jesus Christ Superstar 

Carrying the Banner - Newsies

I Am The Starlight - Starlight Express 

Freeze Your Brain - Heathers

I hope this post gives you a little insight into what I listen to, pretty much on a daily basis musical theatre score wise. Some of these resonate with me, others are just great songs to belt out, but they all are just fantastic reminders of why theatre, musicals in particular, will always be, for me, my greatest love (apologies in advance to any future partner of mine!) 

If I've introduced even one of these songs / shows to one person, I will be happy, but otherwise thank you for reading and hopefully this list will only increase as the years go on!

Jesus Chris Superstar - A Superstar Show and a Superstar Cast

 To a casual observer, when you think of musicals, it's hard not to think about Andrew Lloyd Webber. Jesus Christ Superstar is probably up there amongst his very well known, and so it was a surprise to me, as a musical nerd, that I had never been to see it before, or even heard much of its soundtrack before. When I heard it was being put on in my home town, I just couldn't resist seeing it, and hopefully learning to fall in love with a whole new soundtrack which, to be honest, is one of the major perks of musical theatre!

The Amateur Operatic Society of the Concordia Theatre, based in Hinckley,  put on, as an amateur company, what was frankly an outstandingly professional piece of theatre. So much so, you could put the exact show on, with the exact same cast and crew in any west end theatre, and they would not look out of place. 

If the powerful voices of Daniel Morrison (Judas) and Tommy Guest (Jesus) weren't enough of a selling point, I would urge you to see it because every single member of the show was an unstoppable force of nature. The harmonies were powerful, the dancing was slick and quick paced, yet nobody looked out of breath or exhausted, and the set was astonishing in setting the scene of the story. 

The story of Jesus Christ Superstar is centered around the last days of Jesus before his crucifixion, and you see everything from the last supper, to the inner torment of Judas before he ultimately betrays Jesus, to the rise and fall of a messiah, all within a roughly 2 hour show that packs a lot of power and emotion in every song, from hopefulness and love, to despair, anger and fear. 

I am by no means a religious person, but even I could not help but be awed by the story that was being told, and was moved by it like I've never been moved before, and this is why I will always stand by my fierce opinion that there is no better medium for telling a story than the theatre. Because you are there in the theatre, you are in some ways part of the narrative, and it makes it more real, and when you see the cross come out, my jaw was on the floor. Full props have to go the set designers and prop team for pulling off easily the most raw moment of the show, as well as the actors that had to endure taking it on and off the stage, and for Tommy, who had to be in an undoubtedly uncomfortable position and still give a powerful performance to rival any west end cast today. 

Ben Burgess was another stand out for me, both as an ensemble member but also as Herod, and he easily gave a crowd pleasing performance, really making King Herod's Song his own, and owning that stage. 

Honestly, I could write paragraphs and paragraphs on how amazing this show was, but I think this was a crucial piece of evidence that amateur theatre can and does rival professional theatre, but no matter whether you are paid for your performance, or do it just for the love of the art, theatre remains the absolute crown jewel of entertainment. 

There are still tickets available at https://concordiatheatre.co.uk/ however this show must end on the 17th May, so if anybody does wish to go I would grab them before they are gone. 

I would like to commend all the directors and crew of this particular show for not only your sublime casting choices, but also for putting together a show that was just bursting with energy from the start, with a set that created the atmosphere to match the score, with every bit of the stage being used to its full potential. 

As for the cast, I hope you know that I have followed a lot of your journeys through different shows, and this honestly was an absolute triumph for all of you, and I have no doubt you will continue to soar in whatever you do next. I cannot wait to have my jaw dropped again. Enjoy your last couple of shows and thank you for bringing this amazing show to life.

⭐⭐⭐⭐⭐

Shaking Up Shakespeare, One Bop At A Time- & Juliet Review

 To a casual observer, the Romeo and Juliet tale has been told and told again, in so many different formats. It is hard to argue with this, as there have been multiple reincarnations of this tale, from theatre performances, to film adaptations, to musicals, and even different media interpretations that take the skeleton of the story and apply it in a different time and setting. You can understand why people may show skepticism when a new version of the tale is told, but hear me out:

&Juliet is a glorious reminder that a different spin on a classic tale can make even a well known story seem brand new. The familiarity can often help sell the story even better, as sometimes it can be hard to connect or relate to characters when a new story and new characters are presented to us. 

I had seen this show before, back when it had a home in London, the Shaftesbury Theatre to be exact, and I'm thrilled the tour production in Leicester was a match if not an even more powerful take on the tale. It is basically a twist on the Romeo and Juliet tragedy, which follows a very much alive Juliet on a journey to discover who she really is, and what she really wants, when she survives and her beau, the famous Romeo, doesn't. It is a jukebox musical, meaning it takes popular songs already in existence, and weaves them into the fabric of a story, the most famous other example of a musical of this genre being Mamma Mia. 

This particular version starred Gerardine Sacdalan as Juliet, and she displayed the many facets of Juliet's character very well, from the teenage excitement of being young and free and single, to the maturity of the young adult searching for a purpose. Her nurse and confidante was played by Sandra Marvin, and she provided the character a blend of sass, vulnerability and wisdom that made her such a maternal figure you couldn't help but want to share a hug (and maybe a drink or two) with. 

Without spoiling too much of the plot, of course even in this tale of female - and even at times male - empowerment, we can't miss out the Romeo character. Liam Morris took on this notorious role and was a joy to watch, delivering the lines in a sappy but likeable way. It would've been easy to turn Romeo into the villain, given the theme of the show and what the first few scenes were about, but the show, and Liam, made him into a likeable character you still rooted for even by the end. 

William Shakespeare and Anne Hathaway were the characters very much the narrators / puppet masters steering the characters one way or another. Jay McGuiness (from the Wanted), and Lara Denning, played these roles exceptionally well, with Lara tugging at everyone's heartstrings with a powerful rendition of That's the Way It Is a pop ballad formerly sung by the powerhouse that is Celine Dion. Both of them tackled their roles with a seamless blend of comedy, drama and silliness. 

Other characters added into the tale were May, played by Jordan Broatch, a character created specifically to be Juliet's best friend, and Francois and Lance, a father and son based in Paris who cross paths with Juliet and her company. Francois and Lance were paid respectively by Kyle Cox and Lee Latchford-Evans (from Steps), and whilst it must be incredibly hard to portray a new character in an established tale that has literally been around for centuries, all three of them didn't let it phase them, and just had fun with it, and you can tell with all of the cast that they had an absolute blast making this show, which always elevates a show to new heights if you know the performers enjoy it too.

& Juliet is a remarkably fun musical. It features a range of hits such as I Want It That Way, Roar, I Kissed A Girl, Teenage Dream, Larger Than Life, and many more pop hits that are sure to have you dancing in your seat. The only criticism I had was that the initial scene, which has the entourage of supporting cast members walking on stage and greeting the audience until it was time for Shakespeare's entrance, dragged on a little long, and I don't think it was really clear what the purpose of the scene was. 

I think this was a fantastic show, and it is on at the Curve for two more performances until 21/02/2025. After that, it continues its tour across the UK and Ireland, so please do check it out if you get chance. All the details can be found on the website: https://www.andjulietthemusical.co.uk/

My final thoughts are that musicals that celebrate both female and male empowerment are few and far between. As well as being a diverse cast, with diverse and unique characters, it still celebrated love and marriage, whilst at the same time promoting the idea of independence and learning to love yourself. I hope this musical does find a home in the West End again, I think - and hope -  it will continue to "Roar" for many years to come.

⭐⭐⭐⭐

Musical Quote of the Moment

  "I think that when people meet in the middle of a war, it feels like it means something more. So who needs a medal it's this that we'll keep fighting for" - Jean and Hester from Operation Mincemeat

A Musical With More Than Just "A Little Life" - The Curious Case of Benjamin Button Review

 

To a casual observer, The Curious Case of Benjamin Button is only known for being a film starring Brad Pitt, with it being common knowledge before this it was a tale composed by F Scott Fitzgerald (author of The Great Gatsby), and never would you think it had the content to make a musical, and one that has an amazing amount of heart and soul. 

I shared the sentiment, until I took a trip to see it in London after hearing from many reputable theatre reviewers and bloggers that it was an absolute must see. I was curious to see how they would stage the story, given the plot is around a character that ages backwards. Would this be a role that was split between actors? Would there be special make up / costume effects that disguised the same actor as the story progressed?

I won't spoil it for anybody that does want to take a trip down to see it, but what I will say is that it was done in a way that makes you marvel the sheer talent of people in the theatre business, because it was done so simply, you didn't even really notice the changes, however you still could see the evidence of the passage of time, albeit in reverse. 

What was so wonderful about this musical was the western country style of music that flavoured the soundtrack. You also had the cast, chorus and ensemble all playing instruments, making up the orchestra as well as multiple characters that featured in Benjamin Button's life. This not only gave this piece of theatre a soul you rarely find in any other musical, but it gave a centre stage to the instruments and the people that play them in a way I think a lot of theatre shows are now implementing, but in a way that fit in with the setting and story they were all trying to tell. 

It feels hard to pick out a favourite moment, but I loved the comradery and community spirit that lived in songs such as "When E're She Looked At Me", and the darkness and tragedy that seeped through every word in songs such as "The Kraken's Lullaby". I also felt really inspired and roused by the song "A Little Life", which I think was a teaching moment reminding us that no matter how short or long our lives are, it's important to pack them full of life and love. 

The love story between Benjamin and Elowen was beautifully told as well, and their initial meeting was a wholesome and organic part of the story that I wished was more true of real life today. You just couldn't not root for them to be together and grow in the way that time permitted them to. I always think for a love story to work, whether it's a play or a musical theatre production, you have to have a degree of likability towards both of the characters, otherwise it is just so easy to lose interest in the story and not care what happens to one or both parties. Luckily, the characters were just instantly likeable from the word go, and this was helped in part by the talents of John Dagleish and Phillipa Hogg, a fantastic Benjamin and Elowen.

I don't know how long this musical will be around for, but I hope it continues to find a home even if / when it leaves the West End. The staging, sound effects, and lighting all helped create the real Cornish atmosphere it was trying to replicate, as this was where the story was set for this particular version of the tale. I think this made it even more relatable than had it been set in America, and therefore you could connect to the characters a lot more. There were heartbreaking and gut-wrenching moments, as there is in life in unfortunately, but there were far more comedic and light hearted moments, and by the end, despite the show being 2+ hours long, you came away feeling like you had genuinely seen someone's entire life flash before your eyes. How many shows can you say that about? 

Overall, I went in without knowing a thing about this production and I came out with a new spring in my step, determined to enjoy life. If you enjoy shows where the ensemble is a main character in and of itself, where the music gets your toes tapping and your heart singing, and a love story that literally transcends the physical properties of time, this is 100 percent the musical for you.

⭐⭐⭐⭐⭐

Hadestown - A "Hellishly" Good Time - A Review

 To a casual observer, theatre shows about mythology are few and far between, and maybe for good reason. If it's not in the bible, or a new take on an existing classic film/novel, a lot of the really good and tragic tales that have come from cultures all over the world are not easy to convince an audience to see on stage without that prior knowledge.

Hadestown is a musical based on the Greek mythology around Eurydice and Orpheus, two star-crossed lovers that are separated when Eurydice ends up in the underworld, a kingdom that is famously ruled by Hades. Orpheus, having fallen in love with Eurydice, attempts to rescue her. 

There was a lot about this musical that impressed me straight off the bat, such as the musical score, the staging, and the sheer talent of the cast. With such strong leads such as Melanie La Barrie, Rachel Tucker, and Trevor Dion Nicholas to name but a few, the production was never going to fall flat musically, and indeed each of them gave powerful performances that never failed to evoke an emotion to some degree. I was also particularly impressed by the women who played the Fates, namely Bella Brown, Francesca Daniella-Baker, Lauren Azania, as their harmonies were just outstanding. 

I think the volume of the music did drown out a little some of the lyrics that were being sung to narrate the story, so I did lose a little bit of the story from the first act, and that maybe was why narrative wise I wasn't completely sure who was what, and what was going on. I did manage to pick it up and the second half was a lot stronger narrative wise. 

Not all of the songs I'd say are particularly gripping or memorable, but the ones that were, stay with you long after you are home for the evening. "Wait For Me" in particular was a personal favourite, and it is a fan favourite as well if you know anything about musical theatre fandom, but I also enjoyed "Why We Build the Wall", which I thought had some powerful lines that represented the rich vs poor culture we see even to this day.  

The turntable is a particularly favourite tool of mine that is used in a lot of productions, Hamilton probably being the most notable in recent years. I really liked its use in scenes when any of the characters had to undertake a journey, as with the combined low lighting and gentle accompanying music, it was very easy to feel like they were really walking a great distance, and not just following the movement of the turntable. 

I do love as well that it is becoming more and more of a thing to have the orchestra become part of the cast, and be present on stage. Not only does it bolster the sound, but it is also really lovely to see the faces behind those that help produce the scores and sounds that bring life to the stories that are told within the walls of our favourite theatre. 

I think it is important to continue to acknowledge in theatre the key roles orchestras, sound engineers, lighting and technology specialists, as well as costume designers, hair and make up specialists, amongst so many other jobs behind the scenes, play in helping sell a story to its audience. 

I do feel Hadestown was slightly overhyped but what it was, but I do have to commend it on it being something different, whilst also remaining respectful to the origins of the tale. The talent of the cast and crew is second to none, and I think there is a lot for audiences to enjoy, even if you aren't familiar with Greek mythology. 

I do also think that Madeline Charlemagne and Dylan Wood, who played Eurydice and Orpheus respectively, also were extremely talented and hopefully have even further to go in the world of musical theatre, as they gave dynamic performances and commanded the stage in their own ways, and just worked really well together as well.

Overall, a really enjoyable show, and a good piece of theatre which entertains and educates about the power of love, but at the same time cautions against the cost one can occur from a broken promise and contract. 

⭐⭐⭐