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. 

⭐⭐⭐

2024 - A Year In Theatre - Amy's Highlights

 

To a casual observer, theatre is a nice treat every now and then. To a slightly obsessed observer, theatre is an activity you pack in every chance you get, because sometimes the show you want to see disappears for a few years, resurfacing in a different theatre, on a different type of stage, with a different take on the performance. Sometimes, just the thrill of being in a room with like minded individuals is the adrenaline rush you need to get through the rest of the day/week/year. 

2024 has been a fantastic year of theatre for me. I have seen so many fantastic performances, not just at the West End, but also from my local theatre as well. I cannot understate how crucial and vital local theatres are. They not only put on some fantastic and varied shows, but also help introduce children to the theatre, and help grow and nurture the talents of maybe future West End or even Hollywood stars.

I am certainly lucky to know more than a few of these talents, and some of them have even appeared in the shows referenced below. Theatre may be expensive, and sometimes inaccessible, but I hope for as long as the world is spinning, people will continue to tell their stories on a stage. There really is nothing like being in the room where it happens. Couldn't resist a Hamilton pun. Just couldn't throw away my shot!

Theatre puns aside, and to round off the year, here are my top 10 shows I’ve seen in 2024.

10) 2:22 A Ghost Story (Olympic Theatre, Dublin)

Having seen the play a grand total of 4 times, this time was special for a number of reasons. Firstly, it's always special to see an actor you admire in a role you know fairly well. Colin O'Donoghue was a superb Sam, and played the role immensely well. Secondly, the play takes a new meaning every single time I see it, and this time was no exception. Every new cast seems to elevate the meaning of the play, and provide a, pun completely intended, haunting new take. Finally, it was my first trip to another country based purely around this particular show and cast. I think it makes it so special to get to go to another country just to go to the theatre, because you get to experience a new theatre, a new venue, and a new cast bring their take on the script to life. I thoroughly enjoyed not only getting to see this again, but also introducing my friends to it, and this is why this show had to make it on the top ten list.

9) Dear Evan Hansen (The Curve, Leicester, UK Tour)

I will be honest, the storyline in this is not my favourite. I think it was a bit too stressful a watch at times, however it has a powerful soundtrack, and I will never get tired of Ryan Kopel playing an underdog character we can’t help but root for, even if they may go about things the wrong way. He is an extremely talented performer who will continue to go from strength to strength. Alice Fearn is also a treasure to watch, playing Evan’s mother with all the raw vulnerability and strength that the role demands. Overall, whilst I may not go rushing back to see the show again, it is still an important one that reminds us of what it means to be human, and why we need to take care of the people around us before we lose them.

8) Next to Normal (Wyndhams Theatre, London)

This was a powerful show about mental health, and the impact a loss can have on a family. It tells the story of a woman who tries to cope with her own bipolar disorder, but through this show you also see how the other family members around her are also affected, and also have their own internal struggles/battles. With a strong soundtrack, with most of the songs sounding like they could’ve been recorded for a rock band / artist, this is a dark musical that isn’t afraid to shy away from tough topics. A great, if tough, musical to watch.

7) Pretty Woman (The Curve, Leicester - UK Tour)

I have yet to see the film this is based off – I know, very shocking for someone who loves a good romantic comedy – so I went into this with a blank mind and open eyes, having no previous frame of reference to compare to. The story was easy enough to follow, and actually had some very stunning sets, considering it was a tour production I did have an expectation that it would be a smaller production than it was. The dance numbers were terrific, and it had a great cast you couldn’t help but fall in love with.

6) Why Am I So Single? (Garrick Theatre, London)

The title alone could be the title of my own autobiography, so I was very intrigued by the concept of the show. The two main characters were very relatable, and funny, and it was a terrifically performed show, with the background dancers/cast making up a lot of the props, which was a unique and well executed idea. The songs were all songs you could either bop along to, or relate to, but as this was written by the same writers who created “Six”, I was not surprised by this at all. Even a musical based around six Tudor queens, you still found yourself identifying to one or more of their struggles / stories, so it was no surprise that the writers would find a modern day plight – in this case, the dating scene – and make it so that everybody could relate to something within it, whether it’s being hung up on an ex-partner, or trying to forge a connection with someone on a myriad of failed dates; there was always going to be something you could go “That’s me, that’s my struggle!” to.

5) Six the Musical (The Curve, Leicester - UK Tour)

What’s not to love about a short show with some amazing shows spanning different styles of pop music covering six of the most famous queens in history – even if they were only made famous by a man with a bigger lust for life (and beheadings) than any other monarch in British history. The tour cast put on an amazing performance, having fun in one breath, then pouring their souls out with another. I will always love how fun a show this is, and always ends with the empowering message that women are amazing, and we will not be erased from our own narratives no matter who or what holds the pen.

4) The Curious Incident of the Dog in the Nighttime (Concordia Theatre, Hinckley)

This show astounded me, not only because of the sheer talent of the cast, but because it contrasted some powerful performances against a simple but effective set that could be easily moved around to convey a different setting, a different moment in time. I was absolutely mesmerised by the story and felt uncomfortable not because the lead actor was neurodivergent, but you felt uncomfortable for him, which I think says a lot about how far theatre has come where a character of neurodiversity can be played for empathy and not as a means of ridicule and scorn. Every cast member played their part effectively, so that you felt sympathy and anger in equal measures in some cases, and affection and love in other cases. The main message I got from it was that we all have our own strengths and weaknesses, but we need the right support, the right love, the right environment to allow us to thrive and survive.

3) Operation Mincemeat (Fortune Theatre, London)

Take a cast of five performers, give them multiple roles each to play, with multiple costume changes (some done halfway through a song / dance), and set it during World War 2, and you have Operation Mincemeat. On paper, this probably sounded like a mad idea, but in the right hands, it was executed amazingly well. The songs were catchy, emotional in places, and moved the story along at the right pace. I was so impressed that the five performers, which is all the show had cast wise, could keep up with all the costume changes, and all the different accents to represent the different characters portrayed, that it just remains to me a testament to what theatre can achieve. 

2) Joseph and the Amazing Technicolour Dreamcoat – (Concordia Theatre - Hinckley)

Anyone who knows me knows this is the musical I know inside and out. This is ironically my favourite musical, despite not being religious in the slightest. It just is always a magical production, and I’ve never seen a bad performance of it ever. This version was just transcended by the fact it was performed by an amateur group, who performed this at West End level and beyond. Every dance number was joyful to watch, every song was sung with passion, and every prop, set, and use of lighting elevated the show even further. It was just an absolutely fantastic show that I miss every day.

1) Starlight Express (Wembley Theatre – London)

I am always thrilled to see a performance staged in a different way, or in a different style. I loved Newsies when it was staged there previously, and Starlight Express was only a show I’d ever heard referenced in other shows, so I had no idea what to expect when I came to see this. I was blown away just by the main entrance alone, and then the auditorium itself was just astounding to see. It was set out like a racetrack, complete with ramps and a centre circle that made up the main stage. I must admit, the first half had me so stressed just because I kept envisioning the cast on skates falling, as there were some elaborate moves and jumps that had me paranoid. The second half I could relax more and fully appreciate everything, from the lighting to the songs, to the sheer talent that oozed out of every pore of these cast members. To nail singing and dancing is one thing, but to do it on skates – I just could not have been more astounded by the skill of the cast.

Honourable mentions:

The Little Big Things (Soho Place, London)

Never got to catch this show when it was in theatres, but so thankful I got to see this on National Theatre player. It’s an amazing musical based on the life of Henry Fraser, who had a promising rugby career before his life was changed dramatically through an accident, which left him with near total paralysis. The story was all about his and his family’s reaction to the accident, and how they had to adapt and change and, eventually, nurture a surprising new talent that emerged and eventually became a whole new path. It was so inspiring and the songs were so rich and powerful. It was also one of the few, if only shows, that featured genuinely disabled cast members, and subsequently helped open up so many dialogues about accessibility, not only in theatres but in real life, as when you understand the daily struggles disabled people go through, you can understand why accessibility is not just a tick box exercise, it’s a vital way of ensuring inclusivity for people with a wide range of needs.

Guys and Dolls (Bridge Theatre, London)

This is one of those productions I never had any intention of seeing, not out of lack of interest, it just wasn't on my radar. When I saw it and the way it was staged, with a lot the audience on the floor around where the stage was, I was in awe. It was a truly immersive piece of theatre. The songs were on another level, and I was just so impressed with the way the story was told. Every audience member, whether on the floor or on the seat, had a good view of the action. I do think that's an underrated aspect of the theatre, having a wide choice of seats that allow you to see what's going on, and that there is no bad choice in terms of where you perch yourself. Overall, an amazing piece of theatre

All in all, theatre has never looked better, bolder, or brighter. I can't wait to see what 2025 brings. In the meantime, wishing all of my family and friends and readers the happiest of new years. Let's make 2025 a bright and beautiful year. 

Why Am I So Single ? More like: Why Am I So In Love With This Show?

 To a casual observer, the idea of love and rejection in a musical may be seen as a bit of an overplayed concept. It is not everyone's cup of tea to have two and a half hours spent watching a couple go through the motions until they reach their ultimate will-they-won't-they moment, before either something goes tragically wrong, or they reach their happily ever after.

This is why the musical "Why Am I So Single?" is a breath of fresh air. It actually encapsulates a lot of people's internal struggles around the dating world. It asks a lot of difficult questions, such as "Is it me, or is my perception of the very notion of love just so skewed?", or "Am I pushing love away on purpose, or is it my own behaviour, my own attitude, that's pushing other people away from me?" 

The story is centered around Nancy and Oliver, and was penned by the same writers as the hit musical, "Six", Toby Marlow and Lucy Moss. They are two best friends who are trying to write a musical about love, but end up reminiscing about their own dating failures, which leads them to trying to work out just why is that they are both so single? 

The production itself was cleverly staged, with the ensemble members not only doing a lot of performing and reacting, but also doubling up as props, which was just a delightful and quirky touch to an equally delightful and quirky show. The show numbers were on two extremes, one end being absolute bops that lifted the entire theatre with a sense of community and joy, and then on the other end being absolute heart wrenching ballads that touched your very soul. At one stage there was even a song that, on paper, sounded like it was all going to be happy and joyful, but then actually unleashed a powerful internal struggle of one of the characters, the unravelling of which made the entire audience just thunder with applause when it reached the end, because you knew the message of the song, and you knew it would resonate with people not only on stage but in the audience as well.

I was lucky to have seen a preview of the show at Musical Con 2024, with the leads Jo Foster and Leesa Tulley, who both did an amazing job showcasing the songs "Why Am I So Single?" and "Just In Case" but when I saw the show later on that day, it was a treat to see an understudy take on the role of Oliver, and this was Jordan Cambridge-Taylor, who absolutely nailed their part. I saw an amazing chemistry between both pairings, and in both cases it felt like they had cultivated off stage a beautiful friendship, as it certainly manifested itself so purely on stage. 

What I liked especially about the show is that it was playful when it needed to be, but when it came to delving into serious topics, such as around how queer and non-binary people navigate the world of dating, in a world that is too often unkind and uncaring, it went for those hard hitting lines, both in the music and in spoken words, that I think actually helped me understand a little more the different ways a person can be rejected, and what defenses a person has to rely on and build up to help navigate the cruelty of the world. I actually found myself holding my breath at times until it felt like a safe place to release and relax.

I have always thought a good musical theatre show makes you forget about the world but a really good musical theatre show makes you remember what the world really is, and what good and bad can bleed from it. 

This was a delightful piece of theatre and one I hope extends its run so it brings hope and laughter to more people. For now, I will sign off by saying I hope if there's one thing theatre teaches people, is that love and acceptance are the best things we can bring to the world as human beings, and with the right people in our lives, the question is no longer "Why Am I So Single?" but "Why Am I So Lucky?"    

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The Art of Being A Solo Adventurer

 To a casual observer, and for a certain period of time, going to places on your own, particularly places that you would normally deem a group activity, was more for the oddball of society. Now, however, and thankfully, it is becoming more and more popular for people to do things and go places alone. 

I honestly cannot recommend it enough, and I find it is a lovely adrenaline rush when people compliment me on the bravery of going out alone. This is a post long overdue, because I want to share some tips and tricks for those who want to try going out somewhere, or doing something on their own, particularly in an ever changing world whilst some things may be safer than ever, it is still a relatively unsafe world in places, but for someone who once was convinced she would never go to places like London on her own, take it from : you are brave just for being yourself, no matter what that looks like.

So, without further adieu, here are my top ten tips for starting your own solo adventures, whether you embark on an entire voyage alone, or if you just want to have the courage to go to a theatre show alone. 

1) Start small. People have different comfort levels. If you are too nervous going out of town on your own, start simple. Go to the end of the road on your own. Go for a walk on your own, to an area that is familiar to you. Once you conquer your own back garden, so to speak, you can then venture as far or as close to home as you feel comfortable. You'll be surprised how, over time, the boundaries of your own comfort zone start to stretch to encompass more and more of the world. 

2) Set goals. Work out what it is you really want to do on your own, and create smaller goals that help you build up to achieving your bigger dream. If you want to go abroad on your own, for example, start visiting cities in your own country, and venture further and further out until you have the confidence to move on a step. If you want the confidence to dine out alone, start by cooking yourself a meal and setting yourself up in an area that looks and feels like a restaurant, maybe put on some background music. Create the ambience of a restaurant. You'll be surprised how quickly, over time, your little steps evolve into big leaps. 

3) Plan for adventure, but leave room for spontaneity. Make sure you plan, plan, plan for the basic things, such as getting to your destination, booking tickets for the activities you want to do, etc. but don't book yourself into such a tight box that you can't fit anything else in. Sometimes the biggest surprises come from spontaneous experiences. If you still need that organised structure to your adventure, then block out an hour or two for miscellaneous activities, and don't put any other label on it. Use that time to explore, learn a new skill, or meet new people. 

4) Don't be afraid to stop something if it doesn't feel fun anymore. Don't put pressure on yourself to try new things for the sake of trying something new, particularly if doing so is going to set you back mentally. Your mental health comes first. Even if your halfway through something, give yourself an out. I would even say before you do anything, make sure there is a stopping point, or an escape route if you need to leave and take some time to gather yourself. Money can be replaced, you can't. No new experience is worth it, and you can always work up to trying again in the future. 

5) Speak to other people. People, for the most part, want you to succeed. If you have got something you want to try, you might know someone who can give you tips or tricks to help you. If you're going on a solo trip, people may know good places to visit in that vicinity, or they may show you places to get discounts. There are only a handle of activities that only a small number of people will have ever done, so there is always a wealth of knowledge and experience you can draw upon to get you the most out of whatever it is you want to do. 

6) Don't worry about what other people think of you. A good thing to remember is that doing things alone doesn't make you a weirdo, or a loner. Only you know yourself. If you always worry about what other people think, you'll never get anything done, and it is exhausting managing your own thoughts, let alone the thoughts of everyone else. Be proud you want to take control of what you want to do, instead of arguing about it in a group of other people. 

7) Take photos/videos. Document your experience, whether it's taking one photo, or a hundred. You may end up discarding them after, but it's a good thing to look back on and see what you've done, and who you've become. I still look back at all my photos of my many adventures, and sometimes it strikes me that I have visited so many places, seen so many shows, that I can't quite believe I'm the same girl who used to be so shy she could barely look a person in the eye when talking to them. 

8) Always give yourself something to look forward to. In a world where it's easy to despair or feel scared of what is going on around the globe, we have to create our own victories, our own moments of glory in just being alive. Take advantage of opportunities to create your own happiness. Once you plan one activity, the rush will compel you to plan many more and it takes a new life of its own. 

9) Keep your phone charged, but disengage from it whenever you can. By this I mean, make sure you have a way of contacting people if you need help, but don't sink into your phone and forget to take in the world around you. Enjoy just being part of the fabric of the world. 

10) Encourage yourself. You are your own cheerleader, and if you believe you can do something, you can. The more you encourage yourself to take risks, experience new things, the more likely you are to grow as a person, and you may even one day share your own knowledge with other people in the hopes of encouraging them to do as you have done. 

We may not get a lot right as a species, but when we believe in ourselves, we can light a fire in ourselves that doesn't easily get put out. All we have to do is keep fanning the flames. 

I Was "Enchanted" to See Her - A Taylor Swift Eras Tour Retrospective

 To a casual observer, when you hear the name Taylor Swift you will likely have an impression of her, good or bad. Even if this is not the case, you will no doubt have an opinion on her music, whether you've heard one song, or twenty of them.

I have been a Taylor fan for years, and knew this was going to be a special show, particularly as this was the first time I was seeing her live, but this concert was to redefine the concert experience for me, in all the best ways. 

Whether you're a casual fan of something, or know every inch of the folklore behind the art / artist itself, I think there's a beauty in people being united by a love of the same thing. The Eras Tour was a stark reminder of how wonderful humanity can be, and how united we can be, if we only realised our similarities as humans far outweigh our differences. 

I went to night one of the Eras Tour in Wembley Stadium, London, and the whole area was in full Taylor Swift festival mode, with a venue dedicated to playing all of Taylor's hits being the perfect spot to get the party vibes going in preparation for the concert itself. There were songs of hers blaring out all the way to the stadium from speakers, so that even the journey up to the venue felt magical, and everyone was adorned in the most creative of outfits, some of which mirrored the aesthetic of some of her albums, or may have been a copy of an outfit or dress Taylor wore at one of her shows, another clear sign that creativity breeds creativity, and this is always something to be celebrated. 

Taylor had some incredible guest performers, from a fabulous singer called Mette, to the already well established and well loved band Paramore. I enjoyed both performances immensely, and it made me feel so much more appreciative for any opening act, whether it's in comedy or music; it is never an easy feat to open for any name that is not only well known for the art they produce and craft, but for having easily the most passionate, and slightly insane (in the best way), group of fans. Paramore, of course, are no strangers to the limelight themselves, and many of their well known hits such as "Misery Business", "The Only Exception" and "Still Into You" were still well loved, which just goes to show how music never really goes out of style, no matter the genre or the creator.

Then, we come on to the fabulous Taylor Swift herself. There is a reason this woman, despite the critics, the naysayers, and the haters, draws in the crowds and keeps a loyal fanbase: she knows how to command a stage, as well as write songs that can make you feel every emotion under the sun, sometimes all just one album. 

Forevermore, this night will be engrained in my memory, not just because the sheer scale of the night, and the venue, blew my mind, but because it was so surreal to see her in person, adorned in different outfits of varying degrees of colour and style. She was effortlessly fearless in commanding her audience's attention at every given moment, and it was absolutely lovely to see her genuinely enjoy her job. Being an artist in this day and age, having to tread carefully on the line to be true to yourself but also true to your fans, is no easy feat, but Taylor still walks that line beautifully. 

Her set is over three hours in length, an almost unthinkable amount of time to spend at a concert for just one artist, but you quickly lose track of the time, as this show celebrates all the different eras she has cultivated in her time, and the songs that have enthralled and hooked audiences across the world over the years. She proves time and time again her songs have made their stamp on culture, and she dances through genres like it's as natural as breathing. You can be dancing one minute to the "sick beats" advertised in her classic hit "Shake It Off", and then the next you are bawling out the painful words echoing a past heartbreak in "All Too Well". 

I think it's impossible to have a discography like Taylor's and not have one song that you sort of like, or find yourself dancing to, even if it's against your better judgement, but I think it's still equally to state that not everyone will or does like her, and that's okay. Music is not a one size fits all type of medium. Music is an art form designed to move you, inspire you, and be a companion to you in hard times. It is there to be joyful with, or cry alongside, or to escape from reality. 

When the final notes of "Karma" blared out over the stadium, signalling the end of the show, there was an odd feeling of being bereft of something, and it was strange how a concert, even one of this magniture, could cultivate this feeling of loss after such a fantastic evening, but it did. In some ways, this was the great compliment I could give the show; that it gave so much of itself, and fed you so much, that when the last crumbs were gone, you were left satisfied, but longing for more. 

It was a fantastic show from start to finish, and the whole technical crew, the dancers, and the venue staff must also be praised for how visually spectacular everything was. So many things could've gone wrong but didn't, and whilst Taylor may have been the reason we were all there, her crew and dancers and the venue staff were all the reason we got to see her elevated in the way that she was, and hear her music blast through the stands and beyond so that even the people positioned on the highest seats could not feel left out.

I will just say one last thing to sum up how I feel about Taylor, and why I feel my appreciation for her will never cease to exist: she's a star, but a star that knows and appreciates the magnitude of the sky that she's in, and all that help magnify her shine so that she can be seen and heard around the world. 

Musical Quote of the Moment

 "Seems you get to live your life just once, and if that's how it's gotta be, then I'd rather breathe in life then dusty air." - Bonnie from Bonnie & Clyde the Musical. 

How Acting Saved My Life

 To a casual observer, acting may be considered a hobby, rather than a career. Yes, it may be a career, but not a career to particularly aspire to, and this is because of the many misconceptions people have of acting, and its purpose in the world. 

It seems unlikely I will ever act full time and as a career, but I can tell you one thing: we are all acting in this world, whether it's acting like we're okay, acting like we enjoy something when we do, or acting like we don't care about something, when actually it's our biggest passion and we are having to suppress it in order to fit in. The difference between those people, and those that do acting as a career and / or hobby, is that playing pretend actually has a benefit, a purpose to us.

Let me paint you a picture of an eleven year old me. 

She's quiet, unsure of herself, and worries constantly that she's going to fail in the world. She doesn't have many friends, and sometimes the world scares her. Well, it scares her a lot actually. Still does even now, if we are being brutally honest. I dare you to look at the state of play the world is today and not be a little frightened, no matter what political, scientific, or environmental issue is you consider to be more central in your world. 

This girl needs a hobby other than just reading books, and she knows this. Her mum has tried coaxing her into social situations, with some successes, but also a lot of failures, and this isn't down to her mum being pushy - far from it in fact, as her mum is her number one supporter in everything - but down to her own crushing lack of self-confidence. This has not been helped by a history of being bullied for the sole crime of being a bit quiet, a bit on the fringe of everything. 

Call it happenstance, call it fate or chance, but thanks to the suggestion of a friend of one of her mum's, she is steered into joining a local amateur dramatic group. On paper, this does not sound like a hobby she would enjoy, even with her previous theatre experience, but there's something about this particular group that makes something inside her make sense. It may be the people, it may be the type of shows this group performs, it may even be the fact her first role with this group is a singing role, something she always has shied away from doing in front of people before; whatever the reason, this group lights a fire inside her that still, to this day, burns bright. 

I am not exaggerating when I say this group is a big part of how I've become the person I am today. Of course, there are other reasons, and other important influences that have shaped my personality, and I think we can all agree that no one person has ever had just one event, or person, or group solely influence who they are. You are more interesting as a collection of ideas and opinions, experiences and events, than you are as a solitary figure revolving around just one theme. 

Now we come on to why and how acting has saved my life.

I suffer from anxiety and, sometimes, a crumbling sense of self-identity. Even though I am more sure of who I am today than I have ever been, it doesn't mean that sometimes I don't question why I'm here, what is my purpose, what am I even doing if I'm not doing something meaningful? I sometimes worry I'm not making a big enough mark on the world to justify my presence here, that I'm not progressing enough in life to justify me being the age that I am, which is ridiculous. We are all competing in the same marathon of life, but not everyone has the same targets, and not everyone has the same obstacles or hurdles to try and overcome, so why should we use the same benchmarks for ourselves as other people use? 

If I allowed these thoughts to make me spiral, I know every day would be a struggle. I wouldn't get anything done, and life would be far less enjoyable. I used to panic that I didn't have a passion, that if I did find one what if I wasn't any good at it, and that life would be pointless if I didn't find one. I can't tell you the amount of hobbies I started but never finished, sometimes out of boredom, sometimes because it wasn't the right fit for me at that time.

What I love about acting, is that it's an art of self-discipline. It teaches you to hone all the energy you have into a character often so different from yourself. It teaches to look at the world at another way, sometimes a sillier, more playful way, but it gives you a different sense of perspective, and I think this is part of why theatre is so important to me. 

As much as you can lose yourself in a theatre piece, be it musical or a strictly performative piece, you also can find yourself as well, or even discover a new skill or talent that can lead on to more exciting paths.

In Trinity Players, I found a girl who not only loved the spotlight, but thrived in it. She wasn't just a part of the laughter, she helped create it. She didn't just read words, she breathed a new life into them. This girl found a family in a place that could've made her or broke her, because the theatre can be just a cruel a place as the rest of the world if you don't have the right people at the heart of it. 

This is why my biggest message to anyone who is struggling to find a place in the world, even if theatre isn't your place, you can find a space anywhere to grow and flourish. Find people who make you better, and who you make better just by being there. It may take time and energy, but the best environments only flourish with the right light and care. The moment something becomes toxic, then you need to step away; not every happy place is a happy one forever, but the world is wide enough for you to create and thrive in new spaces. 

There are different ways to save a life other than physically stopping you from dying, just as there are other ways to live other than just existing and breathing. 

Acting saved my life because it gave me a reason to love myself, it gave me goals and challenges to set myself to grow and develop, it gave me a whole new set of characters in the book of my life to laugh alongside and enjoy the company of. I can't pretend as well that it wasn't the perfect place to foster the love of musical theatre I have today. 

Thank you to all who have shared my acting journey, whether it's by supporting me on stage (sometimes getting me out of sticky spots with my lines!), or watching and cheering me on from the audience, or just giving me a stage to try and make people laugh on. 

You are more appreciated than you will ever know, and I hope if this post does nothing else, it reminds people of why acting is an important art form, and why it will always have a place in this world.

Come From Away - A Musical Worth Coming From Away To See

 To a casual observer, when you think of musicals, rarely do you think that they can be born from tragedy, or from a corner of history of so dark it is still remembered every year without fail. You think of corny songs, of big opening and closing numbers designed to get you talking long after the show is over, of big, beautiful sets that glitter and shine under the spotlights. 

Come From Away is a unique musical as it doesn't strive to tick those boxes. It still manages to, but the goal is undeniably to showcase an extraordinary tale of community that I hope is a sentiment we can echo around the world. It is a musical that truly showcases the best humanity has to offer, and is why no matter what the world throws at us or, indeed, what we throw at the world, I do believe we are amazing creatures when we want to be.

It tells a tale of a town called Gander, in Newfoundland, that had to host a great number of displaced passengers when planes had to be grounded in the wake of the 9/11 terror attacks in America. It was a wide awakening for me that, even as a Brit watching this show, there is actually a shocking amount I didn't really know about the aftermath of that horrific day beyond the initial media coverage, and what television shows and films have carved stories from. 

I went to watch the musical at The Curve in Leicester, as it was the first stop this particular cast and crew were hosting their terrific show at. This venue is always a fantastic place to visit, but as with every show I go to see, I am always interested to see how a show with such a following adapts to each theatre it visits.

What shocked me most about this performance, was how simple and stripped back it was. You had the chairs and tables that formed most of the set, and quickly became everything needed to tell you the story, from the seats of a restaurant, to the aisle of a plane. The movement from scene to scene, from song to song, was phenomenally done, and fit the pace and tone of the overall story that was going on.

The cast were also phenomenal, and the fact that there was no single person that stood out more than the others speaks to how brilliantly everyone worked together, in a community effort that was a beautifully fitting tribute to the real life heroes this story was based on. 

"That's how we started speaking the same language," I think was the most hauntingly beautiful line of the whole show, because it summed up how even though we have much to divide us, we have just as much, if not more, that unites us. We forget that sometimes, and it's why sometimes it is dispiriting to see how much hatred and vitriol exists in the world, and certainly on social media spaces. 

There were fleeting moments that felt genuinely uncomfortable to watch, but it was exactly what was needed, and that included moments when one passenger was met with such mistrust and fear all because they were a different colour and nationality to the rest. I think this was handled beautifully, and I think it teaches us that uncomfortable moments in a musical can be vital to selling the story. You can't buy into a musical, unless you feel something in the moment, good or bad. Feeling something for someone or something within a piece of theatre, negative or positive, tells you that you are connecting to something that either mirrors a memory of your own, or ignites knowledge that makes you see the world in a different way. 

I could go on and on about this musical, but it had everything, from love and laughter, to heartbreak and loss. When a musical covers a news story or event that took away a lot from the country affected, it has to make you care, and it has to have a message that doesn't just leave you depressed and hopeless after. For me, I can't watch or consume media that just showcases the worst of humanity. It is important to be aware such horror and travesty exists in our world, but I think if we don't showcase the best of humanity, it is easy to believe it is the worst, and then you think, why do we bother at all?

Come From Away is a well needed boost to the system, and I hope it finds a permanent home somewhere. Until then, I wish it safe travels, and hope every community it visits welcomes it as much as the communities of Newfoundland did for the misplaced passengers it rescued and gave homes to back in 2001. 

This is a show you are going to want to come from away to.

🌟🌟🌟🌟🌟  

Some Musicals Were Born to Follow, This One Was Born to Lead

 To a casual observer, a musical comedy about a world war sounds like an endeavour doomed to fail. After all, particularly in this day and age, what humour is there to derive from war? 

Operation Mincemeat is a theatre show unlike any other. It has a cast of five, who change characters as easily as day turns into night. What this cast do is something extraordinary. They take a dark, fearful period in history, and a plot that had all the potential to fail and cost us the war, and turn it into a piece of theatre that is side splittingly funny, but also isn't afraid to tap into raw emotion every now and then. 

The plot is around a scheme devised by the British to fool Hitler and his armies to divert them away from Sicily, where we planned to invade, and direct them to Sardinia. How do they plan to do this? Well, I won't spoil it, but it does involve creativity and genius that we forget sometimes the army, MI5, and other intelligent agencies build their strategies from. 

It's not necessarily the strategy and how it's enacted that makes this such a wonderful piece of theatre, however, because what really needs to sell a piece of theatre about the war is the humans in the thick of it.

You can't, after all, do any piece of theatre about the war and not focus on the human side of it, not just the decisions made in the name of protecting our lands and our freedoms, but what was lost along the path to victory.

Dear Bill, for example, was a poignant song that could've sounded very silly in the wrong hands, but the way it was sung it quickly became clear that whilst the intention was to initially demonstrate an example of a letter a loved one may write to their partner fighting in the war, it drew from experience and that made it a thousand times more powerful. The fact the audience held their breath all the way through the song is testimony to how emotional and moving the song was. 

The forces behind the musical were Natasha Hodgson, David Cumming, Felix Hagan and Zoe Robert. I think the fact there is such a thriving fandom behind the musical is a testimony to how their brains and creativity work. A new musical can either sink or float in this industry, and this musical has already taken on a new life of its own, with each performance a new take on the script, and with the difference range of characters and cast combinations, you are never likely to see the same musical twice. 

The cast I got to see was Natasha Hodgson, David Cumming, Claire Marie-Hall, Christian Andrews and Zoe Roberts, and each of them shone spectacularly in their roles, encompassing each new character with as much ease as it took to slide on a new piece of costume. Each comedy line went down a treat with the audience, and the rawest moments equally were treated with due care and respect, as, after all, it was a theatre show born from one of life's most difficult periods. 

Songs like Born to Lead and A Glitzy Finale opened and closed the show in spectacular fashion, summarising the start and end points of the characters in this period, whilst paying respectful tribute to the real life people behind the roles.

There is a danger sometimes if we make a musical about a real life event, it takes something away from the reality, because real life is not a song and dance, it isn't a string of silly quips and quick costume changes.

War as we are seeing every day in some part of the world or other, is brutal and sad and tragic and desperate. We don't always see the heroes behind the scenes who draft the battle plans, who make the life and death decisions, who weigh up ethical conundrums against the preservation of life; we just see the men carrying out the orders. 

What Operation Mincemeat does well I think is that it brings these heroes in the shadows forward, and makes sure they are recognised and appreciated. I think musicals can spark life into history, as is proven by the success of the musicals Six and Les Mis, even if you have to insert some fiction to give it that little spark. We just have to recognise the reality behind the story as well as enjoy the amazing performances the cast give us.

After all, real life war, real life history, is not something to sing or dance about, but even in the darkest of times, hope is a prevalent force, and that is something to celebrate and give a stage for. The moments of victory in between the struggles and defeats, is what life is truly worth living for. Operation Mincemeat not only showcases this point, but it does its best to educate and enchant its audience from the very first note, to the last bow. 

The cast, creators, musicians, directors and all other creative forces should be very proud. Their own little operation, Operation Putting On An Amazing Show, was a triumph. I cannot wait to see it again and again and again. 

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A "Giant" Triumph - Jack and the Beanstalk Pantomime Review

To a casual observer, pantomimes are an annual event, something you are inevitably dragged to at some stage in your life, and whilst they are fun to watch, it's sometimes disregarded as an art form, even mocked. 

Here is how the pantomime at De Montford Hall in Leicester proves pantomimes are so much more than what we give them credit for.

The cast for starters were a treasure all of their own. Sam Bailey, a former X Factor winner, absolutely shone in the role of Fairy Flutterby, and whilst her voice was never up for debate as to how great it is, what took me by surprise was how she wore pantomime like a second skin; she just slipped into another character the way her voice can slip into any song with ease. 

Jarred Christmas stole the show for me. His every day career as a comedian was always going to help and not hinder a role in a pantomime, but what is a skill that should never go unappreciated is the way to adapt yourself and the comedy you present to a younger audience. At every stage of the show, he invited the audience in to every joke, and made sure everyone was included into the story, and did it all with a twinkle in his eye. His character, "Lazy Larry", was, ironically, never lazy in making every joke, every line hit, and pushing the story along. 

Scott Mills was a pantomime newbie, but was always going to be a big crowd pleaser because of his role in radio. Whilst it was clear it was his time doing a pantomime, it was also clear he enjoyed every minute of it, and he was a pleasant surprise and a welcome addition to the cast. The show also didn't waste any chance to highlight his radio background, and made references to it that strangely enough made sense in the world that had been created.

This is the beauty of pantomime in a nutshell: it shoehorns references in that will delight the audience, whilst not taking away from the story itself. 

A1's Mark Read, and Christina Harris, made up our Jack and Jill. They were charming in their prospective roles and, again, the show didn't shy away from highlighting Mark's pop background, and in fact made it a key point of his character, as he was constantly referencing 90s songs. I thought that was a rather clever quirk to include, as it was another point to engage the audience, which is always vital in a pantomime. 

I can't go on about a pantomime without referencing the dame, which is a very tricky role to absolutely nail. The audience has to be aware, even the children, that the dame is a man playing a woman, but in such a way that the woman is too ridiculous a figure to even be real, which is where the humor comes from. Jack Ballard was absolutely fantastic and made Dame Trott a ridiculous but warm hearted character that we all could laugh at and root for in the same breath. 

I also have to comment that Mark Beauchamp made an excellent baddy as Fleshcreep. He knew how to play to the audience, even when perhaps the audience weren't as reactive as they could've been. It was just so convincing a role, and it made it easy to react to as an audience.

The set was absolutely gorgeous, the choice of music absolutely outstanding as well. I particularly loved the "Tonight Belongs to You" choice to close out Act 1. Being a huge fan of "The Prom" musical, not only did I love the song already, but I loved the twist in words to make it all about Jack as he ascended the beanstalk. 

All in all, it was a fantastic show, I had a massive smile on my face from the start to the end. Every cast member, from the ensemble, to the leads, acted as if this show had to be the very best one of their lives. Pantomime is an amazing art form because there's something for everyone: rude jokes for the adults, slapstick for the children, and music and dancing to entertain everyone.

The key to a good pantomime I believe is showing your audience you are having a good time. If they buy that, they will buy into all the other magic that is created on stage. I have never seen a pantomime that has not put a smile on its audiences' faces. This one created smiles, laughter and pure joy, three things the world can never have enough of. 

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