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Day: 12 February 2018

Review: Beautiful – The Carole King Musical

Written by Anuli Changa on . Posted in Theatre.

Beautiful tells the story of singer-songwriter Carole King, her life and talent that has touched so many people. King’s music is in practically everyone’s lives, even if they don’t know it! Perhaps most notably ‘Like a Natural Woman’, most famously performed by Aretha Franklin.

The musical tells the true story of King’s journey from being a teenage mother part of a hit songwriting team with her husband and childhood sweetheart Gerry Goffin, to becoming one of the most successful solo acts in pop music history. The audience follows King from age 16 with dreams of becoming a songwriter, to 14 years in the future when she’s performing at Carnegie Hall launching her incredible solo career.

King and Goffin wrote some of the most well-known music of the 60’s, the likes of ‘Will You Love Me Tomorrow’ — originally performed by the Shirelles — ‘The Locomotion’ by Little Eva, and ‘Up on the Roof’ by The Drifters. These numbers are impressively portrayed by a talented ensemble and well thought out choreography. The set was an impressive feat, with wonderful lighting bringing the sixties style — particularly clever when it came to the multileveled recording studio.

Bronte Barbe stars as Carole King and does so beautifully, bringing her own presence to such an amazing performer and character. She is incredible in the lead role, as she depicts Carole King’s transformation from naïve teenager to successful singer-songwriter and finally a performer in her own right as she deals with her cheating husband and puts herself first.

Barbe brings rawness to the role that really embodies Carole King’s persona as she transforms and becomes the legend that she is today, it was her performance that took the show to another level.

There is a convincing chemistry between Barbe and Kane Oliver Parry as Gerry Goffin. Their song-writing rivals are skilfully portrayed, Cynthia Weil, a seductive and witty woman (Amy Ellen Richardson) and the comedic relief of Barry Mann — played with great timing by Matthew Gonsalves.

The feel-good finale leaves the audience inspired by King’s story and practically pulled out of their seats to sing along and dance to the encore song ‘I Feel The Earth Move’. It is guaranteed to leave you walking out of the theatre smiling.

As someone who actively avoids jukebox musicals, I was pleasantly surprised by Beautiful. This touring company brought something more to this collection of seminal songs, demonstrating how heart-warming and relatable King’s story is. A really enjoyable show that surpasses expectation!

Review: The Log

Written by Anuli Changa on . Posted in Theatre.

Patrick Davenport’s The Log surprises and delights in all the best ways: genius comedy accompanied with moments of emotional poignancy.

Told through the eyes of Charlie, Davenport’s The Log recounts the friendship between him, Karl and Alex from the age of six years old when they meet by a log in Center Parcs, through puberty and the challenges of growing up. Davenport’s writing is devilishly funny, with humour that is entirely relatable, bringing out laughter in all sorts of moments – one most memorably as the six-year-old versions of the friends’ misunderstanding the term ‘racist’ to mean doing something wrong in a sports day race!

Will Vincent is likeable and engaging immediately as the conversational narrator (Charlie), bringing us out of the story with quips about how this is more than a cliché coming of age story, and guiding us the through the years of the friendship. Emily Brocklehurst is great as the inquisitive six-year-old Alex, who becomes a hilariously sarcastic and passionate teenager. A distinct Blood Brothers feeling comes with the first meeting of “Charlie Gray and Karl with a ‘K’” (the latter played by Roman Armstrong), an interaction that embodies the meetings of young children to the point where you forget that you are watching university students.

All three actors impress with their ability to command the stage with perfectly delivered comedic lines and switch to equally believable moments of pain and anger. My one and only criticism is that, at times, the serious moments are slightly lost in a lack of projection.

Davenport’s writing and direction are impeccably displayed in this play, leaving you questioning and qualifying what a ‘close’ friend is, and just how difficult it is to grow up. We watch Alex, Charlie and Karl grow and change, dealing with things that they never knew about each other. Roman Armstrong demonstrates versatility in his portrayal of the contrasting joker ‘Karl’ and the ‘Carl’ that is dealing with his dad leaving. An apparently trivial difference of a letter in his name means so much to Charlie’s character as it is the root of how he sees Carl, capturing the complications of friendship and the raw fact that we rarely show our whole selves to anyone.

The log itself looks impressively realistic in its central role in the simple set – representing a den, a meeting place, a playground, a safe haven and more. Chemistry and comradery between the cast is evident in every moment of the play. The portrayal of their coming of age is realistic, with subtle changes in their acting accompanied by wonderful scriptwriting. It was the perfect decision not to have forced costume changes to show the years passing, focussing on the talent of the actors. Simple and effective lighting takes care of the atmosphere in the intimate Three Minute Theatre.

It’s impossible not to laugh and relate to the hilarious, and difficult, moments of growing up experienced by Charlie, Alex and Karl. The show’s final line, “Do you get it now?” (delivered by Charlie), intrigued and delighted me, seeming to simultaneously remind the audience that this was a story told almost more for Charlie’s benefit than the audience’s and inviting us to take away a more personal explanation or lesson. I thoroughly enjoyed witnessing a play considering everyday things – from Clifford the Red Dog to tomatoes and stars – as it amazed me by provoking thoughts about becoming an adult, friendships and versions of identity.

Photo: Ian Cheek Press

Interview: Nightmares on Wax

Written by Yasmin Duggal on . Posted in Music.

To celebrate the highly anticipated release of the new Nightmares On Wax (AKA, George Evelyn) album, Shape The Future — his first studio album in half a decade — a new video for the album’s title track has been revealed.

The song is especially poignant as it features George Evelyn on vocals, something of a rarity throughout his 25-year career. The marriage of soul, hip-hop, dub, and timeless club sounds that Nightmares On Wax has been mutating and perfecting for years, finds perhaps its most fluid form yet on this album.

Energised by globetrotting runs of studio sessions and DJ sets, this latest salvo is a masterpiece of contemporary and classic genre-blending, that solidifies his place as an inspirational electronic music figurehead.

George took some time out to chat with us about his new album and upcoming tour…

So, you’re back with your first album in five years — why the break from the making music? 

I don’t think I really have had a break. For the last few years, I’ve been touring America and Europe and did the 25th Anniversary tour too. I was always making music, so I don’t feel as if I’ve been away.

How have you seen the electronic scene change?

I’ve definitely seen it evolve far and wide across the globe. I was at a dance festival recently and outside on the street were some female DJs outside an art gallery, and I just thought ‘wow, that would never have happened even five years ago, let alone ten’. Obviously, the underground scene still exists — there will always be an underground and overground scene — but electronic music has made it far more into the mainstream.

Has it been a different process for you making this record?

I find that every record is different and this one evolved over time. I always make music sporadically and an album seems to come together when a collection of songs start to have coherence; start to have a story or a message through them. This album was influenced by a lot of different parts of the world and it was definitely deep and enriching, but also very challenging.

Shape The Future is out now – how does this album compare to older material?

I don’t think that’s up to me to decide. I think that’s up to people like you. I think an album is always a reflection of where you’re at and the changing environment around you. I think each album is about mastering your craft and adding another level of maturity to your work.

So, you’re back on tour as we speak. How does it feel to be getting back on the road in the UK?

Well, the UK tour is completely sold out which is amazing. We’ve headed to Brighton and London and then we’re heading to my hometown Leeds, Manchester, etc. I think Leeds is special because I have such a strong affiliation with that place, and I’ll see old friends, but the best part is seeing younger fans get into my music, and that’s everywhere, not just Leeds. Seeing a younger crowd get into the music their parents listened to is really nice.

You’ve had a long career — what’s been a particular highlight?

Gosh… I think just the mental scenarios I find myself in, and it’s music that got me to those places. You know, going to places like Jordan, Beirut, Sri Lanka, Beijing. It’s music that’s allowed me to go there. I couldn’t narrow it down to one particular gig, but I think just the travelling and the gratitude I have for that.

Who is your biggest musical influence?

Most of my original influences were the old school stuff. The first records I collected were probably Scientist, the 1970s producer. More broadly, I love Quincy Jones, who just covered so many decades and crossed over so many genres. He was a big influence. My personal influence would be just the adventure of travelling and how that expands my perception of the world.

What are you listening to at the moment?

I’m going to give a shoutout to Acid Mondays who are making some amazing electronic music. Also, Illa Jay’s Home I’m a big fan of, and a group called Bon Voyage who are making hip-house. That’s all I can think of off the top of my head!