Curtain Call - Issue 28

A MAGAZINE FOR THEATRE FANS WRITTEN BY THEATRE FANS

THE TEAM

EDITORS IN CHIEF: CONSTANCE DRUGEOT AND LENAELLE FONTAINE

CREATIVE DIRECTOR: LENAELLE FONTAINE

EDITORS: CONSTANCE DRUGEOT, CLELIA GESSNER

CONTRIBUTORS: DOROTHY GRACE FRANKLIN, HELEN SULLIVAN, REBECCA NATALINI, ALECIA SOLORZANO, SOPHIA RUBINO, CLELIA GESSNER, OLIVIA CELENZA

COVER PICTURES: MATTHEW MURPHY AND EVAN ZIMMERMAN / LOUIS JOSSE

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Letter from our team

Dear readers,

The moment we are all waiting for is getting closer: we’ll soon know who will be crown the best of the 2024 season at the Tony Awards! And yet, it makes us wonder what makes a winner. Some might say it is the most sold out show, some other the one with the best critics, or even, the show with the most star quality.

However, we tend to forget that all theatre productions don’t start on the same footing, the same budget and the same recognition from the get-go. That doesn’t make them less worthy of the same acknowledgment. Especially as they all give stellar performances and most importantly, they all give us something we need: hope and joy.

Celebrate all theatre works everywhere, no matter their size or time! Thank you to everyone making people dreams come true.

Love, Always,

Standing At The Sky’s Edge

p. 6-11

Suffs p. 12-17

An Enemy Of The People p. 18-19

Lempicka p. 20-27

Behind The Curtain with Kyle Falconer and Laura Wilde p. 28-37

The Motive and the Cue p.38-39

The Great Gatsby p.40-47

NYE p. 48-49

Dead Poets Society p. 50-57

Behind The Curtain with Ethan Oliel p. 58-65

Mindmangler p. 66-67

Cabaret p.68-73

Behind The Curtain with Thao Therese Nguyen p.74-76

Underdog: The Other Bronté p. 78-81

Hadestown On Tour p. 82-83

Guys & Dolls 84-87 REPORT

A Very Stagey Week in NYC 88-89

Stars of Theatre p. 90-91

Sunset Boulevard

Sunset Boulevard

Great Expectation The Outsider

Keep Marching Suffs

Playlist of the month

from the Oliviers to the Tonys

Silver Stars Water For The Elephants

Woman Is Lempicka

Born To Lead Operation Mincemeat Today A Strange Loop

Leave The Light On The Notebook Fallin’ Hells Kitchen

I’m Alive Next To Normal

SHOW REVIEW

STANDING AT THE SKY’S EDGE AT THE GILLIAN LYNNE

“Three households, decades apart. Sharing one roof, one sun, one hope–to root themselves.”

So is the premise of Standing At The Sky’s Edge summed up in a few words at the top of the show, as we are introduced to Rose, Joy and Poppy, moving into the same flat on Sheffield’s Park Hill estate, respectively in 1960, 1989 and 2015. The three stories are masterfully woven into each other by playwright Chris Bush, using pre-existing music from the back catalogue of Sheffield artist Richard Hawley, directed by Robert Hastie.

This is a musical then, a jukebox musical even, but somehow it also feels more like a play with songs, as the numbers do not feel like they always necessarily advance the plot. And yet, the show would not be what it is without its incredible score, beautifully arranged by Tom Deering for quite a big band, with lots of strings. Gorgeous sound! Most songs are sung by the entire company–there aren’t that many solo numbers in fact, but it makes the few that there are stand out more.

Where to start? This is a show about people, but this is also a show about a place–Park Hill. The immense estate was built in Sheffield in the late 1950s in the brutalist style inspired by Swiss-French architect Le Corbusier, in an effort to accommodate the evergrowing post-war population in the area, as lowincome inhabitants were living in de facto slums. This ambitious social housing plan has always been the source of controversy, be it simply for its original look–for some, it is a masterpiece of architecture, for others an eyesore. But for many families across decades, it has been a home. For most of its history, it was not a very recommendable place to live though, plagued by bad maintenance and violence, until it was simply no longer safe to live in and got shut down. It was then bought from the council and rehabilitated, all shiny and new, and sold for a good price to upper-middleclass families.

This is also a show about politics and British history. The estate has seen a great deal of turmoil, starting with the fallout of the steel industry which left many of the Park Hill tenants out of a job and falling deeper into poverty. This is also a show about love, relationships, and finding community. Therefore it only feels right that this show should be a true ensemble piece. It reminded me of Come From Away in a lot of ways. You simply cannot see this show without feeling elevated by the story and the cast’s voices singing these haunting, hammering tunes.

‘‘THIS IS A WOMAN-LED SHOW, AS THE THREE AFOREMENTIONED LADIES ARE PUT FRONT AND CENTRE DURING THE INTRODUCTION AND CONCLUSION OF THE SHOW’’

I would say this is a woman-led show, as the three aforementioned ladies are put front and centre during the introduction and conclusion of the show, but it really is not just about their stories–they are simply our way into the bigger picture, which we get to see through their eyes. The principal cast is much bigger than those three, and the ensemble also gets their time to shine with many anonymous solos underscoring the main characters’ journeys.

I said this feels more like a play with songs–indeed most songs are performed with hand-held microphones, or more precisely in front of microphone stands, which feels like it should take you out of the story, but is also somehow very grounding. The eponymous Act Two opening number, “Standing At The Sky’s Edge”, is performed by the entire company as each one of them is standing and stomping in front of their respective mic stands, staying in place. It has no apparent connection with the story either, and yet it might be the most powerful number in the show, with its rhythmic energy and truly haunting harmonies. It picks us right up after the interval into the second act, after ending Act One with another impactful number, “There’s A Storm A-Coming”, which is also performed by the whole company but very much integrated into the story–all three storylines, as turmoil builds up in each one. These two numbers left me in tears simply

because of how powerful and gut-wrenching they felt.

There are also many more light-hearted or soft numbers which are just as good, and beautifully performed by the cast. “Time Is”, “I’m Looking For Someone To Find Me” and “Tonight The Streets Are Ours” are beautiful ensemble numbers that will lift your heart at the top of the show. My favourite solos include “Coles Corner”, sung by a heartbroken Joy, and the post-eleven-o’clock number “After The Rain” sung by Rose–this one reminds me of & Juliet’s “That’s The Way It Is” and I could not help but think there should have been a revolve spinning set pieces around or behind the character to replicate that effect, but the stillness of that number is also really beautiful.

I have spent a lot of time and words on the music because it has genuinely touched me and I have not been able to stop listening to the cast recording since I saw the show–I could talk about each song for hours! But there is still so much to discuss. The story itself is incredibly moving. The only work of Chris Bush’s I was familiar with was Fantastically Great Women Who Changed The World, which is a very light-hearted, upbeat feminist children’s show, emulating the energy of musicals like Six–this one is very different, to say the least! It has funny moments, and sweet moments, but also touches on some really heavy themes.

The way the stories are intertwined is simply genius and I cannot stress how well this book is written. At first, it seems like they are all separate, but then you realise there are links between the three sets of characters other than the flat itself. If I’m being honest it probably took me way longer than it should have to realise how two characters were actually the same character at different ages, so maybe they need to make it a little more obvious if they want slow people like me to understand–but it felt all the more sweet when I finally got it. No spoilers though, you’ll have to figure it out by yourself if you go see the show! And I highly recommend you do.

‘‘THE WAY THE STORIES ARE INTERTWINED IS SIMPLY GENIUS’’

On a more serious note, the last few numbers really broke my heart but also gave me a lot of hope. I love

this line in the very last song–an acapella reprise of the opening number “As The Dawn Breaks” softly sung by the whole company– “Oh, it’s the hope that kills you, but also keeps you alive.” These words perfectly encapsulate how I felt watching the show, and still make me tear up a little when I hear them in the cast recording, or even just typing them in this review. Coming out of the show, my only thought was “I love theatre so much.” This show is simply everything I want in theatre. No really, you have to see it!

A brief word on performances because the show would not be as good without its incredibly talented cast. Laura Pitt-Pulford as Poppy and Elizabeth Ayodele as Joy are absolute powerhouses and touched me deeply both with their vocal and acting performances, but I want to give a special nod to Karen Wilkinson (swing and second cover for Rose) who made her debut as Rose the night I saw the show, and blew me away–and I did not even know it was her debut (or that she was an understudy) at the time, so I can guarantee my opinion is completely unbiased! Her rendition of “After The Rain” in particular was simply spectacular.

Mel Lowe as Connie, the real estate agent who acts as a sort of narrator for the show, is also brilliant, although I wish there was more of her character. I loved Lauryn Redding as Nikki (Poppy’s ex-girlfriend), and I wish her gorgeous, soulful voice could have been used more in the show as her character is introduced quite late into the first act. Samuel Jordan is very sweet as Jimmy (Joy’s boyfriend) and has a gorgeous voice, which I am very glad I can listen to on the cast recording too, and the same goes for Baker Mukasa as George (Joy’s cousin)! Finally, Alastair Natkiel, who was playing Harry (Rose’s husband) that night, was very impressive and sang a beautiful rendition of “My Little Treasures”.

Finally, I have to talk about the set. It is arguably the first thing you see when you walk into the auditorium, and it mostly stays the same throughout the show–a building that goes all the way up to the ceiling, with the “I LOVE YOU WILL U MARRY ME” neon sign hanging next to it. As briefly explained in the script, it used to be an iconic graffiti on one of the highest bridges in between buildings on the estate. It was removed during construction but reinstalled later and turned into a neon sign as a tribute to the rich history of the place and the people who’d lived there throughout.

The first floor is a balcony or open hallway–like the “streets in the sky” concept of the original buildings, designed to encourage building up community. The actors are often singing or playing scenes from up there. Part of the band also has their seats on that floor and you can see them the whole time, which is something I love, especially when the music is so good! It looks like other musicians are on the storey above, but it’s a closed one so you can’t see them as well.

Most of the action takes place on the floor of the stage though, as it is mostly contained in the flat or just outside of it. There are no walls, it is simply there, with a sofa, an armchair, a table, a kitchen and a fridge… and that’s mostly it! But it’s enough. The furniture is voluntarily timeless so it works for all three timelines, allowing them to sometimes overlap in the same scenes seamlessly. Only at the very end does the set change–I am not entirely sure when, as I was sort of crying and focused on the performers right in front of my eyes (I was sitting in the front row). Anyway, by the end of the show, the back of the entire stage is taken up by the fake building, except the windows are tainted (lit-up, really) in shades of red, orange and yellow, as the real-life Park Hill windows look nowadays since the estate reopened. It looks pretty cool!

To say the least, I really enjoyed this production. It is one of the best things I have seen in years and I genuinely did not see time go by, while it’s actually pretty long compared to most West End shows. I highly recommend checking it out for yourself at the Gillian Lynne theatre before it closes on 3 August. I hope I get to see it again. In the meantime, you can always give the cast recording a listen!

Words by Clélia Gessner

REVIEW

SUFFS AT THE MUSIC BOX THEATRE SHOW

© Joan Marcus

MARCH WOMEN MARCH!

Last year, I was writing about a show called Sylvia which ran for a few weeks at the Old Vic in London. The musical told the story of the suffragette movement through Sylvia Pankhust’s fight. Suffs also tells the story of suffragettes - or rather suffragists - who fought for women’s right to vote but this time, in the United States.

Suffs first premiered off-Broadway at The Public Theater in April 2022 before making its way to Broadway at the Music Box Theatre last month. The Tony Awards nominations have just dropped and it received 6 nominations including Best Musical and Best Book. Having seen the show in person, I have to say that these nominations are completely deserved! The story is not only educational for everyone but also so important at a time when the United States is going through such complicated political events and rights are threatened. It is a reminder to keep fighting for your rights and no matter how long it will take, to never give up.

Produced by no other than former Secretary of State Hillary Clinton and activist Malala Yousafzai, alongside Jill Furman and Rachel Sussman, the show is composed of a strong female creative team including a book, lyrics, and music by Shaina Taub, who is also performing as the lead character, and direction by Leigh Silverman. Additionally, the story is only told by women: the entire cast is played by female performers, even the male roles - although there are not many. To put even more spotlight on their performance and story, the stage, designed by Riccardo Hernández, is mostly bare except for a few pieces of furniture there and there, thus you are not distracted by the set but focus only on the story and its importance. Similarly, the outside of the theatre is not decorated with photos of the cast like it usually is but with quotes from the opposition of the time, giving superfluous arguments on why women shouldn’t be given the vote. I thought it was a brilliant marketing strategy and a great way to show the world that this story is about women and

our rights to be seen, heard, and recognised as equal members of society.

Suffs takes us back to 1913, at a time when the women’s movement was getting bigger across America and the “Suffs” were not backing down until the Nineteenth Amendment to the United States Constitution was passed, giving U.S. women the right to vote in 1920. Featuring iconic historical figures such as Carrie Chapman Catt (Jenn Colella), Alice Paul (Shaina Taub), and Ida B. Wells (Nikki M. James), it is a fiery production that deserves to be heard all over the country, and most especially, by heads of states.

We begin the show by being introduced to Carrie Chapman Catt and the women from the National American Woman Suffrage Association (NAWSA) as they hold a “politically correct” meeting. Alice Paul bursts in, with new and more active ideas to advance the cause, including organising the first Woman Suffrage Procession in Washington, D.C. in 1913. These two characters will be going face to face with each other throughout the show as they hold different ways to make vote for women happen. It was so interesting to see how people with the same goal can still be in conflict. Jenn Colella as Carrie Chapman Catt held her own brilliantly and brought both sturdiness and wit to the story. As she becomes overshadowed by Alice Paul, she gets less stage time but every little bit she had, she owned it! I loved her rendition of “Let Mother Vote” and of course, her continuous disagreement with Alice through “This Girl” and “She and I” was always so riveting to watch.

Shaina Taub as Alice Paul was truly the star of the show. From the moment she appeared on stage, we all knew she would be making history. Her dedicated performance and her always-on-fire speeches gave me chills every time. I just wanted to stand up with her and join the fight. Taub was a powerful and unstoppable force, only reinforced by her remarkable singing, especially in the songs “Show Them Who You Are” and “I Was Here”: it almost felt as if Alice Paul was there on stage with her.

The same can be said for Ally Bonino as Lucy Burns, Hannah Cruz as Inez Milholland, Kim Blanck as Ruza Wenclawska and Nadia Dandashi as Doris Stevens, the four incredible women who joined her in this fight. I particularly liked the song “Great American Bitch’’

© Joan Marcus

© Joan Marcus

in which they are turning insults into a strength to acknowledge that what they are doing matters. The theatre is also selling merchandise with this lyric, which I thought was clever to do, especially at this time for America. But I think my favourite moment is the end of Act One when Hannah Cruz as Inez Milholland goes campaigning throughout the states. The numbers “Show Them Who You Are”/”How Long” are awe-inspiring all the while being heartbreaking. We see Milholland continuing to campaign despite her fragile health and in a poignant moment, she collapses while her Party is embracing a victory. As “How Long” begins, all the performers reunite on stage, mourning their friend but also making sure that her death is not in vain and calling us, all of us, to keep marching and fighting until we reach equality. This was an empowering moment I will never forget.

‘‘SUFFS CALLS ATTENTION TO THE CURRENT STATE OF THE UNITED STATES AND WHAT’S BEEN HAPPENING THE PAST FEW YEARS, ESPECIALLY REGARDING WOMEN’S RIGHTS’’

In the Second Act, we are taken through several years as the repercussions of the First World War are starting to be felt and the protests keep growing. We see the unfair and violent treatment of Suffs, especially in prison where force-feeding was imposed as a response to the women’s hunger strikes, and how the war is causing a strain on the cause, making it a secondary matter. The show also highlights the fight of coloured women to gain not only the vote but overall equality for African Americans. Nikki M. James as Ida B. Wells gives a brilliant performance, full of grace and intensity. In light of everything that happened - and still happens - in America, it is even more essential that we are reminded that women’s fight includes every woman - women of every background, status, and colour. Her song “Wait My Turn” is a powerful description of this - we either win together or not at all.

Suffs calls attention to the current state of the United States and what’s been happening the past few years, especially regarding women’s rights, and is a call to action. As the show draws to an end, we are taken to

years later, where a younger generation of women are continuing the fight for equality and we are reminded to never take things for granted. The fight is not over; as long as women across the country are not free, we will have to keep marching for a better future. The show ends with all the actresses on stage calling us to keep the fight going - and I can tell you, before the last note was heard, we were on our feet, cheering them on, not a dry eye in the audience.

The day I went to see the show with my fellow Curtain Call writer, Helen, the show featured an exclusive talk with Huma Abedin, Heidi Schreck, Carol Jenkins, and Gloria Steinem about the Equal Rights Amendment. It felt really special to be in the room with so many aweinspiring women to discuss women’s equality and the future of the country. I hope Suffs will stay open for a long time so that many more people, especially women, get to witness the show and spread the word across the world!

Put the Rage in Suffrage!

Words by Constance Drugeot

AN ENEMY OF THE PEOPLE AT CIRCLE IN THE SQUARE SHOW REVIEW

A doctor shares a scientific discovery that threatens the status quo and economy and is attacked by local politicians who have an interest in the industries most affected. Sound familiar? In 2020, the world came to a stop when COVID-19 was declared a pandemic and an economic crisis ensued as we went into lockdown. Dr. Anthony Fauci, then director of the National Institute of Allergy and Infectious Diseases, served in the Trump administration as a member of the response team but whose advice was repeatedly refuted by the president and his supporters. In Henrick Isben’s An Enemy of the People, a local doctor faces a similar response when his discovery threatens the town’s main income source.

An Enemy of the People follows Dr Thomas Stockman who finds that the water supply for the town’s spa baths, where he is the doctor, is contaminated with bacteria. He is supported by his daughter and the local paper but not his brother, the mayor and chairman of the baths. His discovery would force the baths to close while the problem is resolved and threaten the town’s economy which has done well since the opening of the baths. Slowly, Thomas loses support through the influence of his brother and fights to reveal the truth to the people.

Jeremy Strong, fresh off his award-winning performance in the hit HBO show, Succession, makes his return to Broadway as Dr. Thomas Stockman in a Tony-nominated performance. In Succession, his character, Kendall Roy, has a strong conviction his opinions are right, despite pushback from his siblings. Here, Thomas faces similar pushback but for an arguably better cause. Strong is well cast for the role and really comes alive in the second act in his monologue to the town after the people have been turned against him. He has conviction in his words. Strong also highlights the complexities of his character in fighting for the truth but whose tactics sometimes alienate support.

His best work is in scenes with his brother, Peter, played by Michael Imperoli making his Broadway debut after a successful screen career including another hit HBO show The White Lotus. A scene between the two particularly struck me–the one where they debate the merits of Thomas’ discovery and the repercussions on the town and his career. Peter’s views stem from his position as the town’s mayor who has a financial interest in the baths’ success. While one may not agree with his view of putting profits before health, Imperoli gives a strong and compelling performance in trying to convince

you to. If the baths shut down, what is the economic future of the town that was expected to flourish? He goes further not only trying to discredit the discovery but his brother, aiming to destroy his career if Thomas shares what he has found. Peter convinces his brothers one by one with compelling reasons. Hovstad (Caleb Eberhard in an impressive performance), the editor-inchief of the local newspaper who regularly publishes the doctor’s findings and is initially eager to publish the latest, fears unemployment, and the printer of the paper and chairman of the property owner’s association fears higher taxes to pay for the problem to be fixed.

The play, written by Henrick Ibsen and adapted by Amy Herzog who previously adapted Ibsen’s A Doll’s House, deals with many of the dilemmas faced during the recent pandemic. While there is no doubt that health measures were necessary to protect people from one of the worst pandemics in history, shutdowns of industries and the economic recession that followed were devastating to some. The play also highlights the fear people have when the status quo is threatened and how far some may be willing to go to deny unlikeable truths and how easily those who disagree can go too far. Dr. Stockman faces physical abuse from his dissenters and is virtually alone

except for his daughter Petra and a friend who offers to house them. Dr. Fauci was a hero to some and an enemy to others but never shied away from the truth despite the verbal abuse he received. The play feels all too relevant in a world where many receive their “news” from social media and are easily influenced by reactionary words. Directed by Sam Gold, this revival reminds us of the difficulties scientists have often received when introducing new ideas and the balance between public health concerns and the economic welfare of people. Nominated for the Tony Award for Best Revival of a Play, An Enemy of the People is currently playing at Circle in the Square and has recently been extended to June 23.

Words by Helen Sullivan

SHOW REVIEW

LEMPICKA AT THE LONGACRE THEATRE

© Matthew Murphy and Evan Zimmerman

A WORK OF ART BROUGHT TO LIFE

“Woman Is” Eden Espinosa making a triumphal return to Broadway in a role fit to her talent and artistry.

On April 14th, the musical Lempicka opened at the Longacre Theatre on Broadway, starring Eden Espinosa in the titular role. Retracing the steps of the famous Polish painter Tamara de Lempicka from St Petersburg to Paris, and finally to California, the show takes on a deep exploration of this strong-willed woman and her inspirations, her struggles and successes, and her passion, both in art and in life. Lempicka, written by Matt Gould & Carson Kreitzer and directed by Rachel Chavkin, brings to life this powerful and complex woman who wasn’t afraid of showing the world her truth through her paintings. A compelling character who is brilliantly portrayed by Eden Espinosa.

As I write this review, I’ve just received the news that Eden Espinosa is nominated for a Tony Award for her role in Lempicka! It is not only a well-deserved nomination for such a dedicated artist but also shows the power of a story and a bold and authentic character. Tamara de Lempicka exposed her truth to a world that was broken and never backed down from it; Espinosa is representing just that to us. I have to be honest, I have been a fan of Eden Espinosa for a while now, and seeing her sing her face off right in front of me was definitely a dream come true. So, although I might be a little bit biased, this Tony nomination, along with all the praise she’s gotten since the first run of the show, is rightly deserved.

The show opens with Espinosa as an older Lempicka, wondering about her past glory and time gone by. As she reminisces about her life in “Unseen”, we see flashes of her world through projections on the stage behind her - a clever staging effect that will be used throughout the musical to showcase the places and events of the story but most of all, to spotlight Lempicka’s paintings. Indeed, the show, but also the theatre in itself, aims to pay homage to Lempicka’s art all the while putting it back under the public eye.

Throughout the show, the projection screen and the stage itsel displays several of her paintings and you can also find them all around the auditorium, including on the curtains and outside of the theatre, instead of pictures of the show as it is usually done. As the title suggests, this is about Lempicka and “her time is now”!

As we move forward with the show, Espinosa takes us back to the start: the moment she became a Lempicka and her journey across Europe after the Russian Revolution to settle in Paris. There, she discovers a new freedom and new inspirations. Paris is blooming under the “Art Deco” movement, a modern style of art inspired by cubism and neoclassicism. Lempicka made her mark with her series of portraits, especially nudes, which stood out from the rest due to the clarity and vibrancy of her paintings. What is interesting, is that Espinosa continuously holds a brush and a palette but the canvas is never put in front of her. Instead, her paintings appear suspended from the ceiling for us all to see and admire. The costumes, by Paloma Young, are inspired by the movements of the times and Lempicka’s works, creating stylish black and white outfits with spots of bright colour. Espinosa’s outfits get more sophisticated as she rises through the Parisian scene, but always remains seductive. The colour green, which is so often used throughout the show, represents Lempicka and we see her adorning it in so many fashionable ways. Rafaela, Lempicka’s muse and lover, played by Amber Iman, on the contrary, is always wearing red, a sharp contrast to Lempicka but which makes for a sensual and bold association. Espinosa and Iman look thrillingly exquisite in their chosen colours and costumes.

‘‘“WOMAN IS” EDEN ESPINOSA MAKING A TRIUMPHAL RETURN TO BROADWAY IN A ROLE FIT TO HER TALENT AND ARTISTRY.’’

Moreover, the entire stage is designed to reflect the art style of the time that inspired not only Lempicka but also her fellow artist Martinelli, played by George Abud. The stage, designed by Tony Award nominee Riccardo Hernandez, is composed of symmetrical lines and metal, futurist-inspired structures that become staircases, apartments, clubs, and frames. It is quite an impressive staging which is always in movement

to depict the many changes happening within the story and Lempicka’s life. The lighting does a great job as well to express this, moving focus and colours all through the show and transforming the stage itself into a beautiful, almost overwhelming, canvas.

I know I’ve already mentioned it but Eden Espinosa’s performance as Tamara de Lempicka is not to be missed! From the moment she steps on stage to her last note, Espinosa is a force to be reckoned with. With grace and artistry, she takes us on a journey through Lempicka’s life, from a naive young girl to a more determined and strong-minded woman who knows who she is and what she wants. Espinosa gives a bold and poignant interpretation of this largerthan-life woman, and her vocals - and belting! - are breathtaking! I particularly love the choices made in the first song “Unseen” where an older Lempicka reflects on her life. What a skilful way to open a show: it gives us a taste of what’s to come. I was also blown away by Espinosa’s determination and passion in “I Will Paint Her” - this is what I mean when I say Tamara is one strong-willed lady who will get her way, what an icon! - but also touched by her softness in duets such as “Just This Way” with Beth Leavel as the Baroness. Of course, I cannot not mention the powerful and absolutely magnificent end Act One closing number, “Woman Is”. A beautiful love letter to women and loving women, this is the moment where Lempicka fully embraces her passion and inspiration and feels truly alive. A glorious moment!

Talking about Lempicka’s inspiration, Amber Iman gives a remarkable performance as Rafaela alongside Eden Espinosa, a role for which she also received a Tony Award nomination. Iman breathes life into Lempicka’s painted muse and turns her into an irresistible and free-minded woman. We understand why Lempicka is so taken by her the moment she sees her during Iman’s song “Don’t Bet Your Heart”. Espinosa and Iman’s chemistry is palpable throughout the show and they show such affection and tenderness when in each other’s space that you don’t need too much imagination to see them as lovers. Besides, as the story moves forward, we get to see more vulnerability and softness within Rafaela, a strong woman who always took care of herself, as she slowly let her guard down. We can see that reflected through the moving ballad “Stay”, in which she declares her love for Lempicka and decides to stay. What I love in this song is how

Rafeala asks “Is this what it feels like to be seen?” when wondering about her love, which beautifully echoes the Act One opener “Unseen” - Lempicka’s fame and beauty all behind her - but also Lempicka’s challenge to be recognised and wanting to find “immortality” - a thing she promises Rafaela to convince her to model for her. Lempicka showed to the world “what a woman could be”.

‘‘FROM THE MOMENT SHE STEPS ON STAGE TO HER LAST

NOTE, ESPINOSA IS A FORCE TO BE RECKONED WITH.’’

Lempicka puts women at the centre, whether in art, romance, or storyline. The show features our two strong leading ladies but also puts under the spotlight French singer and actress Suzy Solidor, played by the wonderful Nathalie Joy Jonhson. Suzy was not only one of Lempicka’s models but also a formidable woman who, much like the painter, wasn’t afraid to show the world who she was. Suzy was openly lesbian and owned a nightclub where people could be who they wanted to be. Her song entitled “Women” is a celebration of women and life. Johnson gives a fierce and hilarious performance as Suzy Solidor from her very first scene and we cannot help but fall in love with her too. No wonder that in real life, Lempicka also had an affair with Suzy!

I was also impressed by George Abud’s performance as the Italian artist Marinetti and his extreme view on what art - and the world - should be. Through the number “Plan and Design”, he leads Lempicka towards her muse and in “Perfection”, he takes a turning point in wanting a world dominated by perfection - it isn’t a surprise when his character becomes a fascist as the war erupts. Andrew Samonsky as Tadeusz Lempicki, Lempicka’s husband, and Zoe Glick as Kizette, their daughter, showed great chemistry with our leading lady and they managed to give the appearance of a family - although slightly dysfunctional. I did love the song “Starting Over” when Lempicka and her family are fleeing Russia, as well as their fiery duet over Rafaela, “The New Woman”. Of course, the unexpected meeting of the husband and Lempicka’s lover during her exhibition in “What She Sees” is both incredible and hilarious! Nathaniel Stampley and Beth Leavel did a great job as The Baron and The Baroness, and kudos to

© Matthew Murphy and Evan Zimmerman

the entire ensemble who brings to life this acclaimed story through polished and skilful choreography, by Raja Feather Kelly and stylish costumes by Paloma Young.

Lempicka is a beautiful and inspirational musical about a woman who lived fully and passionately, a woman whose story deserves to be told and remembered. A story of a woman who loved and lost, a story of a complex woman with power, desire, and vulnerability. A story about women. I will keep on saying it but it is so special to have this kind of story on a Broadway stage, to see women being celebrated for being who they are, loving who they want, and not giving a damn! I hope the world gets to see it. For now, Lempicka is playing at the Longacre Theatre in New York City, don’t miss it.

Note: I wrote this review before learning about the abrupt closing of Lempicka at the end of the monthwith barely two weeks’ notice. Everything I say in this review is a true reflection of my sentiments on the show. For me, this is an original work about a powerful queer woman who made a name for herself at a time when queer, Jewish women were not listened to. It is a bold piece of theatre that broke conventions to bring the work of an icon on stage but also to give a voice to a beautiful yet unheard community. It is a shame that the show is closing so early and so suddenly while it barely had time to make its mark – the whole point of Lempicka is to be seen. Give her the chance to be seen.

In the meantime, I will be enjoying the cast album recording which comes out at the end of this month and will be hoping for a revival in the future - all my love to everyone involved with the show, you really brought me a lot of happiness!

Words by Constance Drugeot

© Matthew Murphy and Evan Zimmerman

INTERVIEW

BEHIND THE CURTAIN WITH KYLE FALCONER

LAURA WILDE

AND

Kyle Falconer & Laura Wilde © Tommy

BEHIND THE CURTAIN WITH KYLE FALCONER AND LAURA WILDE

Based on Kyle Falconer’s album No Love Songs For Laura, the musical No Love Songs tells the story of Falconer and his partner Laura Wilde’s experience with new parenthood and postnatal depression. The couple wrote the show together and we were lucky to have a chat with them about the creative process as the show is about to take on a new life in London and on the road.

How are you feeling about the show and the upcoming runs?

Kyle Falconer (KF): We’ve had it on in Dundee, which is our hometown, and we’ve had it on in the Fringe in Edinburgh, so it was always from the start the direction we wanted to take. So, to have the show play in London especially, and in Brighton is pretty good, and we’re getting told that it’s gonna be in lots of different cities. We’re doing like a month in Connecticut, a month in New York and we’re going to tour Australia, so it’s all really great. At the start, when it was COVID-19 and we started trying to write the show and trying to get it made, it felt like a slow process, but then we found the right team and I think when you look back on it. It’s all happened pretty quickly.

Laura Wilde (LW): Yeah, we’re just really excited to reach new audiences and take it out of Scotland for the first time as well. Obviously, we’re both Scottish and it was amazing to showcase the show in Kyle’s hometown and go to the Fringe, which was such a big deal, but it is very exciting as well to take it to England. It will be exciting to see what new audiences there feel about it.

How did the idea of turning the album into a musical come about? Do you have any background in theatre?

KF: [Laughs] My whole family is kinda musical, they’re all quite theatrical. I grew up on the cast recording of Jesus Christ Superstar and…

LW: He grew up around lots of women!

KF: [Laughs] So yeah, I’ve always loved it and we go see a lot of theatre, we’ve seen Jesus Christ Superstar

thousands of times… I always wanted to do it! The first night Laura and I met, she showed me a book she’d been writing about this witch, and I was amazed and said ‘‘Wow, this should be a musical!’’ and I always talked about doing that. We’ve tried another idea before but weren’t sure where to go with it, and then Laura over the years started teaching herself how to do scripts and screenplays, and so she started doing it and I thought, we could actually do this together!

LW: Yes, I think it was Kyle who came to me and said ‘‘Let’s do a musical.’’ He’d always said he wanted to do it, you know when you have a bucket list of career things you want to do? And then he said, ‘‘Why don’t I do a musical based on the new album?’’ And I said, the songs would be amazing on stage but if we’re gonna do it, it has to be about what the songs are about. They were written at a time when Kyle was away from the family working, more than he wanted to be, and I had postnatal depression. And so that’s why I said if I’m gonna write it, it has to come from a genuine place, for me to be able to connect with the songs. So yeah, it was Kyle who came up with the idea of doing a musical and then we came up with the storyline together, how it would be based on us.

So the album wasn’t written with the musical in mind?

KF: No, it was a bit of a weird one actually. I was in America quite a lot. I’d just finished with [my band] The View and I wanted to have a break from it. I was going back and forth to America to try and get a career, and started doing more songwriting for other people. I was writing all the time, so I wasn’t actually with anyone, I was just writing these songs and I wrote this one called «Laura» and Laura was like «There’s no love songs for me again», joking, and that’s where the

title came from. And I was like, this is just basically telling everyone about our life, but I don’t realise it as I’m writing the songs!

LW: Yeah he does that thing where he writes and he doesn’t realise and I’m like… Is this about us?

KF: And I’m like, oh it might be! [Laughs]

LW: But yeah, the album was already done so it was probably a different kind of process than how musicals are usually written.

KF: I think there were about 22 tracks that were supposed to be on the album so I had to get rid of many… Even when I was doing the album, I was gonna do a double album but I had to keep it down to 12 tracks.

LW: That would have been a long show!

KF: Yeah, and all the songs from the album didn’t even make it onto the show. I think even when we were writing it, I wanted to keep all these songs in, but some of them weren’t really fitting with the way the story was going. And the story—it’s hard to watch it, obviously having gone through it. The first time we watched it we were like, it’s pretty intense!

So, how much of the show would you say is your story and how much was embellished for storytelling purposes?

LW: When we eventually came into the room, it was very much exactly our story. And I think as we saw Dawn [Sievewright, who played Lana] and John [McLarnon, who played Jessie] acting out—they were there from the beginning, in the room with us developing— obviously, there were upsetting moments, it was almost like a therapy session for us in the room! And then, I think we decided to change little things to begin with. We did a stripped performance first at the Dundee Rep, ages ago now, and we changed little details like the baby not being a girl, just to try and take me out of it so we didn’t feel too close to it. But yeah I think the actual storyline in terms of Kyle being away in America, the main character is in America, him living in his world and me living in mine—that was exactly what happened. Without giving too much away, we’ve maybe dramatised some of the heavier scenes, for dramatic effect, and also because some people do go through that with postnatal depression. But for me, I was able to realise what was going on and have help around me before I got to any really dark places. To be honest, pretty much all of it is exactly

what happened. It’s just, we’ve kind of changed the names and things like that. But yeah, that’s why it’s quite emotional for us to watch. And we’ve done a BBC documentary alongside the opening of the Fringe, which explains more exactly what we were going through and stuff like that. It’s been a journey!

How does it feel having other people play sort of other versions of you?

LW [to Kyle]: What do you think about John?

KF: Uhm, I think he’s pretty cool! [They laugh] It’s funny because you have to kinda take yourself away from that. Sometimes in the room, they were like ‘‘Would you wear this, would you do this?’’ and I was like ‘‘Well probably, I’m not sure!’’

LW: And Kyle was like ‘‘This is making me look a little bad in some places!’’ This is not exactly the conversations we had. But yeah, I think they’ve just done an amazing job making it their own as well—I think that’s what’s so beautiful about it. Even though it’s come from us, what the story is about and everything is so easy for anybody to relate to—somebody who’s been through something, someone you know, a sister, a cousin, a friend, or even yourself. Because they do it so well and it’s not them trying to be us, so people can see themselves in the characters. I think that’s what’s quite nice about it. Maybe some people won’t even know who we are, some people will know what we’ve been through, there are different levels of it… I don’t think people need to know us or know our story to see the show, because it’s just relatable for anybody.

KF: One of the good things as well is we’ve found out that it’s not just women who go through this—a lot of women were talking about it and saying they’ve been through postnatal as well but, a lot of husbands have been through the same things. And we’ve been hearing it from men you would never expect to show emotions like that. I think people for sure open up about their emotions more when they see other people have been through it. It’s good to see it. Everyone kind of connects at the same time.

I don’t know if you’re a performer Laura, but have you guys ever thought about playing the roles yourselves?

LW: Kyle says I can sing but I just sing in the house with the kids, I don’t think I would ever be able to sing on a stage and do it justice, like Dawn and Anna [Russell Martin, who will play Lana in the upcoming production].

John McLarnon and Dawn Sievewright in No Love Songs © Tommy

KF: I mean we could always get a voiceover! [Laughs]

LW: But I think if we were ever to develop it for TV or film, maybe a wee cameo role to get ourselves in, yeah! I did audition for Annie when I was at school, so… [Laughs] But yeah, Kyle’s also looking into acting so, never say never!

What was it like working on the show together, especially given the heavy and personal topics that you had to deal with while developing the show?

KF: I think at the start of it, it was quite awkward, or at least hard to read what we had written. But I think the more we went through it, with people acting it, and I think even the directors and the people in the room, we got more comfortable.

LW: I think it’s because we had such a good team, and then everybody started sharing their things. We co-wrote the book with Johnny McKnight and he was sharing about his sister, and then Tashi Gore, our co-director, was sharing her experience, and it just became a safe space for us really quickly. There was also loads of support from the Rep. It was also cathartic in a way, just getting that out, and doing it together… It’s quite special I think, to kind of put that to bed, that chapter of our life, and make something nice from it, and then move on from it together. I’ve really enjoyed the experience. I mean I haven’t killed him yet, so… [Laughs]

How did you turn the solo album into a score for two people?

KF: So, it was our musical director called Gavin Whitworth, he’s brilliant! In my head at the start, it was going to be all singing and dancing…

LW: I think he thought it was gonna be like can-can dancers, loads of people on stage! [Laughs]

KF: And then eventually he was like no, it’s not gonna be like that. He basically plays everything, he’s got the piano, the bass, the drums, and the tambourine, everything at the same time, he’s like a one-man band! I kinda gave him free will to do it, as long as the actors were singing the notes, getting the words right…

LW: And then, Kyle was in Philly, to begin with, and as things went on it was just me going in to do writing. And if we had any changes, maybe some lyrics wouldn’t fit, or it just needed a new layer, they were like ’’Just ask Kyle.’’ I think it was only two lyric changes,

and the first one they made me ask him and he texted back straight away and they were like ‘‘Oh we were thinking he might be needing a bit of time» but no, he was like «Boom, here’s a new one!’’ [Laughs] And I think you had to kind of help John and Dawn as well, he was just involved in all the things just to help make it into what it is now on stage, so yeah.

KF: Yeah, there were a few times when I was like, I don’t like this bit, but I wasn’t understanding it because it’s a different vibe. If you think of the way these songs were written, it was actually on acoustic and piano. The only reason we’ve done pop production on the record is because it was Covid. You could get away with more things then. I’m normally in an indie band, but I didn’t have any band to answer to so I just recorded it myself, it was like totally going to this other world where there’s no judgment. I don’t think I’d be able to do it with any other albums I’ve made, but this one I thought, this is the time.

So how would you describe the sound of the show?

LW: I think the songs are uplifting, emotive, and catchy…

KF: The songs are quite emotional.

LW: But also the songs were on a pop album so there’s still the undercurrent of that. People at the Fringe have asked us where they can get the album from, so the songs are great, they get stuck in your head, and they fit so well with the writing! It’s almost like Kyle came forward in time, knew we were gonna write this musical, then went back and wrote his album because it fit so perfectly. And as Dawn, our actress, said, it’s very theatrical the way Kyle writes, so they are theatrical-based anyway I would say, but they’re just… yeah they’re great songs that really connect with the writing perfectly.

What are your favourite tracks in the show?

LW: ‘‘Still Here’’, ’’Mother’’ and ’’Wait Around’’.

KF: ’’Mother’’ is probably my favourite to watch, but it’s also the hardest to watch. And ’’Stress Ball’’ too. It gets quite emotional watching that one because you see them kinda first meeting and you’re like, oh my god, it’s cute!

LW: They’re gonna have a baby! [Laughs]

Kyle Falconer & Laura Wilde © Tommy

It is a banger of an opening number!

LW: And it comes back in with reprises throughout the show!

Were these your favourite songs in the album or has that changed since making the show?

LW: I think they were the ones that stood out to me in the album anyway. For «Wait Around», I’d actually written a poem when I was going through postnatal and Kyle took that and made the song from it. So, that one was always special to me anyway. But yeah I guess it’s just changed the way that you see the songs. Oh, and also ’’Monsters’’, I love that one as well. I think it’s become one that I have noticed more with it being in the show because it’s such a key moment in it. On the album, I loved the song but it was just not the one I would always go to! [To Kyle] What about you?

KF: Same!

Finally, how would you describe the show in three words?

LW: Emotional.

KF: Funny.

LW: Inspirational!

Words by Clélia Gessner

John McLarnon and Dawn Sievewright in No Love Songs © Tommy

THE MOTIVE AND THE CUE ON YOUR SCREEN

Directed by Sam Mendes, The Motive and The Cue tells the behind-the-scenes story of Gielgud’s experimental 1964 production of Hamlet – the longest-running of all time. After transferring to the West End following a successful National Theatre run, this wonderful play graced cinema screens across the globe through NT Live. Written by Jack Thorne, and drawing inspiration from the literary sources William Redfield’s Letters from an Actor and Richard L. Sterne’s John Gielgud Directs Richard Burton in Hamlet, the play not only questions how theatre is made but offers a deep insight into what makes theatre.

‘What’s Hecuba to him, or he to Hecuba, That he should weep for her? What would he do, Had he the motive and the cue for passion That I have?’

– Hamlet, Act 2 Scene 2

The meta nature of this play’s central narrative, and historical context, appears self-explanatory; after all, what is more meta, and more difficult to articulate, than a filmed version of a play about the rehearsal process of a play that will be staged in the guise of a final rehearsal? And did I mention that the play performed also contains another play as a narrative tool? No verbal explanation could do the complexities of this production justice,

let alone my measly and long-winded explanation. Whilst I’ve read a variety of reviews claiming the play’s celebration of theatre appears surface-level, as it seemed to state its feelings towards the art form it so obsessively explores rather than discover them, I would beg to differ.

The complex relationship dynamics between the three main characters – Johnny Flynn as Richard Burton, Mark Gatiss as John Gielgud and Tuppence Middleton as Elizabeth Taylor – truly bring this show to life. Above all else, the exploration of theatre-making within The Motive and The Cue felt honest. Through the fiery outbursts of Burton, the raw lamentations delivered by Gielgud, and the cutting character assessments uttered by Taylor, the play manages to steer away from the self-regarding and towards the self-referential.

‘The actor and the character. Wasn’t that where we started?’

– The Motive and The Cue

The central focus of the play was the creative tension between Burton and Gielgud; Gatiss and Flynn managed to personify the conflict between classical acting and contemporary methodology through the successful impersonations of their respective figures. The build-up

of tension between the pair felt anticipatory without appearing stagnant – each creative disagreement moved the action towards the pivotal point of explosion. Tuppence Middleton particularly shone as the silverscreen starlet Elizabeth Taylor, acting as the middleman amongst the pair. Whilst Burton represented the new methodology and Gatiss the old, Taylor symbolised the screen and its relationship to theatre. At the time of Hamlet’s rehearsal process, Taylor had begun to perform in a variety of theatrical movie adaptations, such as Cat on a Hot Tin Roof – something she would continue to do later on alongside Burton. However, Taylor did not simply serve a narrative function within the play. Middleton’s performance was mesmerising, embodying the role with such conviction and charisma. Her ability to greet the challenging task of portraying a renowned figure with such success was made even more impressive when taking into consideration Middleton’s limited stage experience.

I didn’t expect anything less than perfection from the set design of Es Delvin, the mastermind behind such incredible sets such as that of the 2023 revival of The Crucible, and perfection was what I was greeted with – the set design for The Motive and The Cue was utterly

magnificent. The usage of flown-in flats of block colour to manipulate the Noel Coward Theatre’s stage allowed the action to seamlessly flow from the wide, open space of the rehearsal room to the intimacy of Burton and Taylor’s hotel suite, all the way to the overwhelming and yet intentionally claustrophobic office of Gielgud.

One day, I would love to access the filmed version of Burton and Gielgurd’s 1964 performance, which is kept under lock and key at the National’s archives. Nevertheless, The Motive and The Cue was a pleasure to watch. Through its, at times sharp, dissection of the process of theatre-making, The Motive and The Cue manages to successfully meet the true aim of performance as established by Shakespeare: ‘to hold as ‘twere the mirror up to Nature’ (Hamlet, Act 3 Scene 2).

Words by Dorothy Grace Franklin

© Matthew Murphy and Evan Zimmerman

When walking into the Broadway Theater, one may have to check their Playbill to make sure they’re in the right place. From the call of seagulls, the curtain of a lighthouse in the sea and the frigid breeze of air, you’re immersed in the Long Island Sound whether you like it or not. While this certainly makes the show threedimensional, it also happens to make its viewers seasick as a man sitting just one section over from me had to be medicated during intermission due to the temperature (so maybe skip dressing for the period).

After talking to a woman at the stage door who had seen the production when it first debuted at the Paper Mill Playhouse in New Jersey, it seems as though the beginning and end of the show have changed drastically. What once was a beginning and end with the titular role of Jay Gatsby (Jeremy Jordan), the Broadway production decided to stay true to the novel and bookend it with the 1925 novel’s narrator, Nick Carraway (Noah J. Ricketts). While that was an edit made to the storytelling, the music appeared to stay the same as it was all too obviously written for Jeremy Jordan.

The scenic/projection design by Paul Tate dePoo III is attention grabbing and massive, but at times distracting. The practicality of using screens for the various set changes makes sense, but doesn’t feel very “of the time.” One could assume that the screens might represent Gatsby’s “new money,” as Jordan Baker (Dariana Mullen) goes on to sing about, but the screens are used even in George Wilson’s (Paul Whitty) rundown auto shop to assist with the quick jumps in the setting. When the screens aren’t in use, the audience is treated to built sets that accurately represent wealth in the 1920s, complimented by a beautiful lighting design by Cary Pattak. Since the performance I was at was not only a preview, but a show with an understudy being put in, Brian Ronan’s sound design got a bit lost.

But it really is visually a treat. Linda Cho’s dazzling work with the costumes reflects well on the time and meshes with Loren Skora, Charles G. LaPointe and Rachael Geier’s hair and wig design. Each character felt well represented by what they were wearing and how they looked, even if they looked a bit too costume-ish at times.

Now, onto the question on everybody’s lips: Jeremy Jordan? Did the beloved Newsie portray the debonair and suave Gatsby that everyone knows and dislikes? The answer is not as straightforward as one might

think. While the vocals are pristine, Kait Kerrigan’s idea of Gatsby along with the team of Jason Howland and Nathan Tysen’s music/lyrics and Marc Bruni’s direction doesn’t provide Jordan with the best canvas.

To start, the show takes a lot of liberties with the novel. This iteration is a more feminized version, thankfully, seeing as F. Scott Fitzgerald stole ideas for his novel from his wife, Zelda. There are scenes that do not occur in the novel between Jordan and Daisy (Eva Noblezada), and moments in which Myrtle (Sara Chase) is more than just a mistress. Along with the progressiveness implemented into this version, there come changes in the story due to the casting. It is established pretty early on in the novel that Tom Buchanan (John Zdrojeski) is a racist man, but with Noblezada being Filipino and Mexican and Ricketts being Black, we lose that detail about him (and he remains a bad man through his cheating, violence against women and manipulative nature).

For those entering the space who have never read the novel, what you are seeing is a vignette of highlights that have been altered for dramatic effect. Many lines from the classic novel are preserved but feel entirely out of place seeing as Kerrigan could not imitate Fitzgerald’s prose. The major plot points remain the same, however, some are combined together messily to make sure that they fit within the dramatic structure of the musical which results in major pacing problems in the second act. The story still gets told, despite leaving out some of my favourite details of the novel such as Gatsby’s backstory and the fact that, while everyone attended his parties, nobody but Nick and Gatsby’s father could be bothered to pay their respects at his funeral.

The Great Gatsby is known for its many symbols, such as the green light, the valley of ashes and the billboard of Doctor T.J. Eckleburg. Like a high school English teacher, Kerrigan’s book and Howland and Tysen’s songs want you to know exactly what these symbols mean. George Wilson, the working-class representative of the story, sings two songs (“Valley of Ashes” and “God Sees Everything”) to let you know exactly what the creative team thinks with very little room for speculation. Ironically, the Act I finale, “My Green Light,” is not analytically explored. With all of the metaphorical possibilities the green light has racked up over the years, the team chose to go with the more surface-level explanation that the green light represents Daisy for Gatsby, and vice versa. Surface-level interpretation didn’t stop with the songs, though.

© Matthew Murphy and Evan Zimmerman

© Matthew Murphy and Evan Zimmerman

© Matthew Murphy and Evan Zimmerman

The narrator of the novel is Nick Carraway, but the main protagonist is Gatsby. In the novel, we see every side of him through Nick’s non-judgmental gaze. In this iteration of the story, when Gatsby was not singing about Daisy, he was either not in the scene or (spoiler alert) dead. To be fair, who wouldn’t be in love with Eva Noblezada? Howland and Tysen’s music only scratches the surface of Noblezada’s vocal abilities, which requires her to riff almost incessantly to show off her stardom. While Daisy is vain, manipulative and downright sardonic, Noblezada finds moments of light that prove to you how a character as fickle as Daisy is capable of being loved. The one moment of light for Jordan was “Only Tea,” Gatsby’s nervous breakdown in an attempt to get Daisy back. In this moment, Jordan is not Jay Gatsby but instead James Gatz; an awkward seventeen-year-old boy just before he reinvents himself to affirm the same societal standards which made him feel insecure in the first place.

The subplot of the musical is really the meat and potatoes of this production. Ricketts shines as Nick and chooses to show that he isn’t the neutral narrator he so claims to be, but instead is a man full of opinions and moral goodness which falls in direct opposition to the main cast. Mullen’s Jordan Baker provided an egalitarian perspective to a story traditionally riddled with inequality. Unfortunately, the rewrites to Baker’s character focus more on what fun could be brought to the audience and directly ignore the judgments received by independent women in the 1920s.

Most of the tragedy happens within the C-plot of the show with Tom, Myrtle, George, and Meyer Wolfsheim (Eric Anderson). Zdrojeski’s Tom was unapologetically cruel, lacking love for anything that wasn’t money or Myrtle. Bruni’s direction would have it so that Myrtle’s delusions are visible to the audience, rather than just in her head. This smart decision gives substance to a character that lacks attention in the novel. Chase and Whitty compliment each other well as the (barely) married pair, despite their scenes feeling like a rushed afterthought.

New York’s hottest club is ‘The Great Gatsby’ in 2024, and the ensemble lets you know it. If you want to be a part of the party, The Broadway Theater is the place to be. Dominique Kelley’s stunning choreography shines in numbers “New Money,” “Shady” and “La Dee Dah With You” (featuring the impeccable Derek Jordan Taylor,

Curtis Holland, Katie Webber and Mariah Reeves). What makes these numbers so fun is that you can feel the joy radiating off of the ensemble members while they’re in it, even if it is just acting (but you’d never know).

In order to fit the necessary plot points into a two-hour show, Kerrigan has to combine different moments from the novel into one scene, which flows together quite smoothly until the end. Fitzgerald saves a lot of major moments for the latter half of his pocket-sized novel, and the musical ultimately suffers because of its loaded second act. Howland and Tysen are able to build on moments in the novel which were overlooked and provide me with a song (“My Green Light’’) that has been stuck in my head since I saw the show. When looking at the beloved novel, musical theatre storytelling is a fitting medium to portray the grand lifestyle of the Roaring Twenties (though you wouldn’t really be able to tell the time period by the modern language chosen for the show). Bruni crafts the world, but his take reminded me of an excerpt from the novel (and the inspiration for the show’s second song) when Daisy says: “‘I love to see you at my table, Nick. You remind me of a — of a rose, an absolute rose. Doesn’t he?’ She turned to Miss Baker for confirmation: ‘An absolute rose?’ This was untrue. I am not even faintly like a rose.”

While Fitzgerald’s novel has garnered the reputation of being an inquisitive read, the musical is anything but. If you find yourself questioning whether or not to buy a ticket, make sure you’re aware that this show is a spectacle rather than thought-provoking. You also have the opportunity to see a cumulation of talent in one place at the same time, which is worth more than Gatsby’s fortune altogether. For fans of the novel, think of this musical as one might think of Daisy’s hopes for her daughter, Pammy Buchanan: beautiful in optics, but foolish in identity.

NOTE: At this performance, the role of Jordan Baker was played by Dariana Mullen, and Mullen’s track was covered by Carissa Gaughran

Words by Sophia Rubino

NYE AT THE NATIONAL THEATRE ON YOUR SCREEN

Written

by

Tim Price

and directed by

Rufus Norris, Nye

follows the life of Welsh political figure Aneurin ‘Nye’ Bevan, played by the wonderful Micheal Sheen, in a surreal and stylistic drama depicting ‘one man’s dream of the NHS’. Whilst I was unable to travel across the U.K. from the North of England to the Wales Millennium Centre to catch this play, I felt so fortunate that I was able to watch the live stream at my local cinema. Broadcast across the world, Nye was the 100th NT Live production — a National Theatre programme to bring the magic of theatre to millions of people around the world through cinematic live streams. Since its inception in 2009 as a theatrical experiment, NT Live productions have been broadcast by over 11 million people across the globe.

The clever and multifunctional usage of the hospital backdrop, designed by one of my favourite set designers Vicki Mortimer, was very charming and innovative. At moments, the same curtains, which previously represented the hospital quarters were lowered to transform the stage into a bar or were staggered to act as parliamentary benches. Similarly, the hospital beds were incorporated into the atmospheres of Nye’s recollections to ground the shifts in setting whilst bridging the gap between the world of memory and the present day Nye was experiencing. In one scene, they were flipped on

their side to divide the stage into government groups to represent the role of the welfare state and collective medical aid in local government. The lighting design of Paule Constable helped to create a medically-induced, dreamlike atmosphere which shifted from nostalgic to terrifying. Not only were these design choices artistically unique, but they served vital narrative purposes and complimented the action.

The surprise I felt at the incorporation and usage of physical theatre within the play was matched in equal part by the surprise I felt regarding my enjoyment of such physicality, as I often find physical theatre to be an obtrusive detriment to most plays’ immersive qualities. Whilst moments, such as the conflict between a young Nye and his schoolmaster, did border on becoming a hindrance, I found the successful sequences — the most prominent example in my mind being the library scene with a young Nye and Archie — to be utterly enchanting; however, whether or not my feelings here are influenced my own bibliophilic nature is unclear.

Sheen did a fantastic job portraying Bevan as a charming, passionate and spirited activist-turned-politician. His fiery political debates and exchanges had either me on the edge of my seat with anticipation or roaring with

laughter. Sharon Small’s performance, particularly in the second half of the play, was wonderful, yet the character of Jennie Lee lacked the vital substance it needed to make the conflicts and ending of the play as hard-hitting as Price appears to have intended it to be. The standout performance was delivered by Tony Jayawardena playing Winston Churchill. His imitation of Churchill’s famous mannerisms, combined with his incredible comic timing, was spectacular.

One of my gripes with this play was its failed attempts at tempering a balance between retaining a level of mystery through symbolism and explicitly informing the audience of key narrative features. The presentation of Nye’s health complications during the chronologically sound segments of the play offers a clear example of this issue. Whilst the rapid decline of Nye’s health postsurgery is repeatedly reinforced (both through exposition drops by Jennie and through the play’s hospital setting), the cause of Nye’s death is left ambiguous. The closest we get to a reveal is a scene in which coal is removed from Nye’s body, in a symbolic sequence presumably fuelled by either Nye’s morphine-dosed state or his imminent death. It was not until I began to research Nye’s life slightly more heavily to aid my review (and satisfy my own historical fascination) that I learned that

died from stomach cancer. For a historical play, which otherwise prides itself in its dedication to the historical, these vague moments appeared unfinished and unbefitting.

As a history student, I went into the cinema with a vague recollection of Nye’s work creating the National Health Service in the UK, but I knew that I would leave knowing a lot more than I knew upon entering. What I didn’t know was how that information would be portrayed. The highly anticipated play Nye was a highlight of my year in Theatre in 2024.

Words by Dorothy Grace Franklin

Nye

A lesson on how to live your life to the fullest.

What a strange thing it is to walk into an old theatre while a party is already happening on stage. And when we say party, we mean, a party, with a disco ball illuminating the stage and people rocking to 60s tunes. Something peculiar to witness when you know the atmosphere that usually inhabits Dead Poets Society.

But there they were, the young schoolboys dancing and rocking on stage while one of them was playing the electric guitar and singing his heart out to some Elvis tunes. A school dance setting that quickly caught the attention of the audience. As time passed and people were filling the theatre, they were also filling the stage, taking part in the party and dancing their worries away. Even on the balcony, we were up on our feet and dancing.

Well, nothing could have prepared us less for the piece of theatre that was about to hit us.

A CLASSIC BROUGHT TO THE STAGE

As someone who holds the movie close to their heart, I was particularly intrigued to see how it would play out and work on a stage, especially in a French adaptation. Well, in a few words: it works!

Once the disco ball is gone, it’s a very different stage we’re presented with. The traditional red curtain occupies most of the stage as the schoolboys snake their way through the audience while shouting “Tradition! Honor! Discipline! Excellence!”. It for sure sets the tone for the rest of the show. And when the curtain goes up, it’s like we step into the classroom with the rest of the cast: some desks, a giant blackboard, a bed, some. A sparse set design that leaves the light for what matters: the actors and the story.

I liked how they also transfigured the stage for the scene taking place inside the cave. In a heartbeat,

the darkness swallows the stage and with the help of some flashlights, we’re immersed in the confined place with the six boys. There the magic happens and you can witness their bond forming and their ideas flourishing. There is nothing revolutionary about this set design either, but somehow it’s still clever and efficient. In this scene, I also dearly loved the way they incorporated music. We’re not talking about songs and big musical numbers that wouldn’t fit in the narrative, but instead, an acoustic anthem sung very enthusiastically by the group with the help of madeup percussion (a desk and an empty trashcan). It’s the simple things.

John Keating is, as always, unforgettable and one can only hope to have that much positive influence on someone else’s life. Of course, Stephane Freiss is not Robin Williams, as no one will ever live up to his genius. But still, Freiss is splendid as the optimist teacher. His witty delivery more than often drew laughs from the audience and it definitely helped us ease into the story and the setting. But what we loved the most about Freiss’ interpretation of the character is his natural authority. There is simply something about him that makes him so loveable yet a bit frightening. It’s not a secret that Stephane Freiss is one of the most wellknown faces of French TV and cinema, but on stage, he shines in the middle of the young actors.

BROTHERHOOD THROUGH THICK AND THIN

Since the friendship of the poets is at the core of the show, each of the boys had a role to play: Todd Anderson as the shy one, Neil Perry as the idealist, Charlie Dalton as the fearless leader, Richard (Knox) Overstreet as the hopeless lover, Steven Meeks as the ingenue and Garry (Richard) Cameron as the traitor.

It might have taken us a minute to warm up to the little troop, but once we were in, we were in for good. At times though, the acting felt a bit too scholarly and too unnatural for my liking. Some line deliveries felt too rehearsed and almost automatic, which made most of the goodhearted banter fall flat and forced. Fortunately, once you’re used to it, you kind of ease into it and the six boys are quickly what and who we get the most attached to. You simply learn to love each and every one of them for what they are and I especially loved how accepting and supportive

they were of each other and their bond is definitely something special that we don’t see very often on stage.

But I was a bit disappointed by Todd. Not because of the acting: Helie Thonnat is phenomenal and perfectly embodies the character. His stutter was perfectly dosed and we could see his body language and attitude always meant something. Even in the background of a scene, there was something to notice about him. But here’s the thing: he was almost too much in the background.

In the movie, we are witnessing the story unfold through his eyes. In the stage adaptation, it felt like he was not used to his fullest but rather a witness of what was happening despite him. His relationship with Neil was not as dominant as some of the other dynamics and we were left wanting more when it came to them.

Of course, some would argue that the main character of the show is Keating or even Neil. But Todd’s character truly flourished throughout the story. He is the one overcoming his demons and the one on whom Keating’s Carpe Diem lesson has the most impact. Hats off to Thonnat for giving life to this character loved by many. I’m sure many kids in the audience saw themselves in him that night.

As Neil Perry, Anderson’s counterpart, Ethan Oliel is nothing short of amazing and his last scene is simply breathtaking. Even when you know the outcome and have watched the movie a thousand times, the silence that dawns on the theatre and the audience is unsettling. Like somehow we can’t understand what’s happening on stage. Or don’t want to understand and acknowledge it. I can only salute Oliel’s acting in his very last scene which only presents him and a single swinging light. Again, it made us feel almost uncomfortable and as if we were not supposed to witness it or like we were spying on him as he was having his inner conflict. As raw as it felt, I loved how they decided to put on this scene and change the setting from the movie!

It is no wonder why and how Ethan Oliel’s performance earned him a Molière nomination for Best New Actor, alongside another one of his castmates: Audran

Cattin. As the rebellious Charlie Dalton, he is a true scene stealer. Some would say he is the comic relief of the band but most of all, he is the most believable and realistic character of all. All hail Nuwanda and that saxophone solo!

“IT TRULY NEVER GETS OLD!”

So, is Le Cercle des Poètes Disparus a perfect adaptation? Yes and no.

Yes, in the sense that if you are familiar with the movie, you’ll fall back in love with it and feel at home with the same lines and scenes. And no, because there is nothing really new to it and it is almost a carbon copy of the 1989 version. Of course, something near perfect doesn’t need novelty - and I agree, it doesn’t need a 2024 version! But, just like Neil’s final scene, I would have liked some tweaks and liberty here and there to make it fresh. Nonetheless, I wasn’t mad that some scenes were cut, including some involving Chris. Though important to Overstreet’s story, it only helps drive the story forward quicker. And don’t worry, Knox’s passion for her is still very much alive and in a very funny way!

Still, the ending is breathtaking and we particularly loved how they had Charlie Dalton running away from this life and responsibility and the boys taking a stand for what they believed in as “O captain, my captain” resonated through the theatre. It truly never gets old!

After all, Carpe Diem.

Le Cercle des Poètes Disparus is running at Theatre Antoine until May 26th before transferring to the Theatre Libre on September 11th. Run and see this Molière-nominated piece of theatre before it’s too late!

Words by Lénaëlle Fontaine

BEHIND THE CURTAIN WITH ETHAN OLIEL INTERVIEW

BEHIND THE CURTAIN WITH ETHAN OLIEL

On stage, at the Theatre Antoine, Ethan Oliel plays Neil Perry, an ambitious young man with a head full of dreams. A role for which he just won a Molière for Best New Actor. We had the opportunity to sit down and talk about his journey, his joy playing an iconic role on stage and the lesson he learned from his experience in Dead Poets Society.

How are you and how is the show doing?

It’s going well. The last few months have brought in a lot of hard work and emotions but it’s been a wonderful adventure. We have been lucky enough to be playing to full houses since we opened and we all get incredibly well along. It’s quite rare to be in a show that is doing well and at the same time to love what you are doing so much and get along with the rest of the cast and crew. It’s just been a blast!

You just won a Molière Award for your role as Neil Perry. What was it like?

It was a whirlwind of emotions, you can tell by the face I made when they called my name. (laughs). It’s funny because the day before, with the cast, we put on a fake Molière ceremony and did our best impressions of each other receiving the award. Because I’m quite emotional, the guy who played me during our fake ceremony had a lot of fun pulling tragic faces. I promised myself that, if by any chance, I was to win the prize, I wouldn’t pull such faces! Yet, what happened was exactly what he had described!

I was very touched because it’s true acknowledgement from my peers and true acknowledgement of our profession. It’s also proof that, so far, I’m not too bad at my job and it’s encouraging me to keep working, and to work even harder!

In your speech, you talked about how you wanted to quit theatre before booking Dead Poets Society. What has changed for you since being in this play?

A lot, actually! Dead Poets Society has brought a lot of joy and liveliness back in my life. Exactly two years ago, I was going through a really tough time in my life,

and then the audition came through—almost at the right time. I actually have a very particular relationship with the movie; it’s one of my favourites and my mom even named me Ethan after Ethan Hawke, who played Todd in the movie.

Dead Poets Society also happens to be a show that I tried to put on back in January of 2022, but I was told then that the rights were unavailable. And eventually, a month later, I came across the casting call. It’s two years of effort that have come to fruition! I still struggle to realise it’s finally happening, but I think it’s for the best because if I were too aware of it, I wouldn’t be able to experience it fully. Sometimes you need to keep a bit of an emotional distance with an event to still be able to believe in it.

‘‘NEIL PERRY IS A CHARACTER THAT TRULY TOUCHES ME.’’

It’s come full circle then! And it’s been a long way to get to where you are right now, reaping the fruits of your labour.

Exactly! I really feel like it’s something you have to go through and it shows that you should never give up. I didn’t get into the national theatre schools I auditioned for–not because they missed out on me, but simply because the other candidates did better than me at the exam that year.

I can make up excuses, turn a blind eye to reality to give myself a reason not to try but, two years ago, I changed my mindset. I started thinking that it was not them who missed out on me, but rather I who missed out on an opportunity. When I realised that, it was like a revolution in my head!

“Seize the day”, that’s, in a nutshell, the meaning of the play in which you play Neil Perry. What’s your relationship like with your character?

I think we have one thing in common: we both have that burning passion inside of us. But there is also something else: we might look confident, but the truth is, when we have to say the things that really matter, to the people who matter, we just can’t do it. Neil is stuck and, as much as I despise it, it’s something we share. It’s been a real pleasure to work on that role, to rediscover it and play it every night on stage. Neil truly touches me.

There is a duality in this character. On the one hand, he is very rational and optimistic and on the other, very dramatic. How did you work on that?

Both sides of him feed off each other. If I’m truly honest in the joy he feels being with his friends, if I play on the absolute happiness he feels, then the barriers he faces with his father and his chronic inability to say important things become all the more harsh and violent.

Personally, I think he needs his friends because he doesn’t have that at home. He’s an only child, at least that’s the image I have of him, and so he doesn’t know the joy of sharing and discussing the things he loves there. This is the story I’ve created for him–this ease he has with his friends and his need to connect with them stems from what he is lacking at home and with his family, from that silence. Neil deeply loves his mother but it’s something that remains quite timid and modest. With his friends, he gets to experience and enjoy that freedom!

“Carpe Diem” is the lesson taught throughout the story. What do you take away from it?

I sort of feel like this notion has been distorted over time. Nowadays, people think of Carpe Diem as: “ok, Carpe Diem, I can do whatever I want, whenever I want, there are no limits!” But this is not what it is about! It’s an invitation to seize opportunities and, as I was just saying, we are often tempted to find excuses not to seize them. Carpe Diem is also an invitation to live in the moment, enjoy it and be the driving force behind it. We are constantly watching stories on social media or filming what we’re doing instead of actually experiencing it. Carpe Diem might sound outdated

but really it’s something our generation and the young kids especially need currently. We can learn a lot from it!

This warning is also repeated in the play, Carpe Diem, and rightfully so. Today, to whom would you address your “O, Captain, my Captain!”?

I had my own John Keating! When I dropped out of school, my theatrical ambition was a bit unstable. (laughs) At the time, I was doing it because I needed to do something and I knew I had something to give, but I didn’t yet know how. It was that teacher, Pétronille de Saint Rapt, who turned my ambition into a real aspiration. ‘O Captain, my Captain’–it’s for her!

She is also the one who fuelled my passion for literature. This is also why I love Dead Poets Society so much, because it’s about young people who never allowed themselves to think that there could be another path than the one that had been chosen for them. They grew up hearing that “tradition, honour, discipline, excellence” were the values that would earn them great careers as doctors or lawyers or a place in the American elite. But then, this teacher comes in and tells them “Yes, this path is possible, but there are others, there’s yours and you should look for it.” And they go and find it, thanks to literature and poetry and the way we play with words, how we say them and what they can stir inside of us.

Today, reading is, as Daniel Pennac calls it in Chagrin d’Amour, “an absurd feat”. As in, when we read a book, we pat ourselves on the back for reaching the 100th page. That’s how great and important Dead Poets Society is because it reminds us of the power of words and how they can revolutionise our consciousness.

Was theatre something you were into as a kid or did you find your passion for it later in life?

Quite late, actually. In high school, I always loved doing little skits. It was my time to shine as I was quite shy in school. With my best friend, we knew we could make people laugh and show off in front of the popular kids. We could only dream of being as popular as them! (Laughs). But even then, I never told myself “I should get into theatre.”

It happened a bit by chance. When I dropped out of

Ethan Oliel (far left) and the cast of Dead Poets Society

© Louis Josse JMD production

preparatory school, my mum told me “Why don’t you try doing theatre?” I did a cinema workshop at Cours Florent, then a theatre course, and I fell in love with texts, words, and great authors like Musset, Hugo, Racine, Corneille, Molière... I wanted to bring their texts to life, to embody them! And here we are now! (Laughs)

At the core of the story is also the relationship between the members of the society. How did you make this relationship work on and off stage?

It’s largely thanks to the director’s choices! I had already worked with Olivier Solivérès on The Adventures of Pinocchio and I had seen, while attending auditions, how he had an eye for choosing good actors, but also good cast members. He selects people who will feel invested in the project, and who will have the right work ethics. He has this gift and emotional intelligence to unite a team - I actually call him Coach! (laughs). It’s true, to me it feels like I’m working with Didier Deschamps! He manages to unite us around a common project, and we perform a play as we would play a football match.

We want to please our supporters, and he reminds us that each performance is important. Even if people talk about the play as being a beautiful project, those who saw and loved us the night before won’t be there the next day. In reality, those who come each night don’t know that we were great and did well the night before! We have everything to prove again; that’s the magic of theatre. We have to tell this story again and do it with the same intensity! We have to feel involved at every stage, and it’s thanks to the director that we do.

As a side note, we all went to his parents’ country house a week before rehearsals began. Lost in the middle of the countryside, we got to know one another, it was absolutely fantastic.

Peter Weir, the director of the 1989 movie, did the same thing with the cast of the movie and even convinced them to write their own poetry! You actually met him yourself. Did he give you tips and advice on how to give life to the story?

Not at all! He was truly moved when we met him backstage after the show. And for us, of course, it was

very emotional to have the opportunity to meet him–for me in particular as he changed my life with this movie. It was extraordinary!

To see that his 1989 movie still resonates with the public in 2024 must be something too!

Of course! He witnessed people giving us a standing ovation at the end of the show and it is his story we’re playing on stage. He must have seen how people can still resonate with the story and how it is still a necessity nowadays.

When we went to see the show, middle schoolers were sitting at the very top of the theatre and were captivated by the story. It’s a show for every generation!

It is our greatest pride and joy to have so many generations attending the show every night. That’s something that is actually quite rare in commercial theatre here. It’s amazing when people discover the medium of theatre itself through our play. After the show, I love meeting the audience and feeling that we have awakened something in them. There are a lot of young kids that had never stepped foot in a theatre before visiting us! Even if the story takes place in the 50s, we manage to show them that it’s about young people like them and emotions they can feel nowadays too. Knowing they can hold on to our characters and their destinies, even after the show ends, is wonderful!

The play will transfer to a new theatre in September. Will you still be part of the journey? Shall we expect any changes?

Yes, it will be the same play, with the same cast! We open at the Théâtre Libre in September 2024 and will even be lucky enough to embark on a tour from January to June 2025. It will take us across France, Belgium and even Switzerland.

You are already playing an iconic character, but what would be your dream role in the future?

I have a passion for great classics, like Molière or Musset. If I had a magic wand and could bring any character to life, it would be Alfred de Musset’s Fantasio or Alceste in Molière’s The Misanthrope

But I’ve also performed a solo piece, which I wrote myself, called The Cloud Boy (Le Garçon Nuage). It’s a text I wrote in alexandrine and performed at the Théâtre des Déchargeurs. It did very well and I would love to do it again. Additionally, I plan on writing another one. We talk a lot about the youth and I would like it to be a text for them–a text for people who doubt, for those who feel absent in the presence of others, a text for those who tend to use their intelligence to distort reality. It will be called Aurora in reference to Nietzsche’s work; he is an author I love very much. It’s a text he started writing when he regained health and joy, which is exactly what is happening to me right now! (laughs) I would like it to be a very bright text.

So, either a great classic or a one-man show!

So you are not only an actor but a writer too! Where do you draw your inspiration from?

Everyday life, but also lots of introspection. Or the inner adventure as Montaigne did it. He believed that by talking about himself, he could speak to everyone. He said he carried within himself ‘the traits of the human condition.’ According to him, it means that we all share certain emotions and by dissecting them, we can speak to a wide audience. I like that idea.

When I write, I also enjoy writing for multiple characters that I can portray myself. Especially thanks to clown and mask work, it’s great to be able to play several characters at the same time.

ETHAN’S RUN-THROUGH

Favourite piece of theatre?

Cyrano de Bergerac. It condenses all the best things we have in French literature.

Favourite character of all time?

Alceste from the Misanthrope because he haunts me. I just can’t get him figured out. At times he makes me mad and other times I understand him.

What’s your ritual before going on stage?

Every time, I spare a thought for three people and I pray for them. For my grandfather, who was the most

honourable person I have ever known. This man had an absolutely extraordinary sense of values. For my uncle, who was very worried about my future because he passed away just as I was leaving preparatory school, so I always think of him. And for a friend who passed away last year. She was an actress and a singer, and she would have been infinitely happy to see what is happening to me now. So, I always think of them before going on stage.

If you had to address a message to the audience of the Dead Poets Society, what would it be?

Come see us! (Laughs) I would like to say to young people, these few words from Musset: ‘Man is an apprentice. Pain is his master and no one knows himself until he has suffered.’ It’s a quote I love because we tend to want to avoid suffering and pain, to ignore it. Yet I think we should do as Nietzsche said, ‘I do not point the finger of reproach at the ills of existence.’ Suffering is part of existence; it is inevitable and every road that has led to success has necessarily been paved with doubts, obstacles, and tragedy.

What makes Dead Poets Society so beautiful to me is that it is not a manichean work. There are no good guys or bad guys. It is a clash of wills, and that is what is beautiful. At a time when we are asked to choose between good and evil, choose a side or an ideology, having a work that does not take that approach is refreshing. I find that it asks more questions than it provides answers.

Some people think that the main character of the story is alternately Keating, Todd, or Neil. What do you think?

I think what drives the story and the play–it may seem silly, but it’s the poetry. Not just poetry in the sense of poems, but the poetry of life with all its wonders and tragedies. It is a bit of all that. The play’s text is there to make us ask ourselves what it means to think for ourselves. Is it possible? And if so, should we teach this? But from what age, what are the consequences... The horizons of reflection are immense and that is what makes this work very relevant today.

Words by Lénaëlle Fontaine

MIND MANGLER AT THE APOLLO THEATRE SHOW REVIEW

If the saying “three can keep a secret when two of them are dead” is true, then I can’t imagine how many people would have to disappear to make sure that spilled secrets about stolen biscuits and passionate times in churches stayed hidden. At the gala performance of Mind Mangler: Member of the Tragic Circle, the latest product of Mischief Theatre, we were invited to share a personal secret on a little card presented as we entered the auditorium, and let me tell you, I was glad I resisted the temptation to fill it in.

The Mind Mangler welcomes us to a theatre of brightcoloured lights and swirly patterns. The lighting and music do a good job of making a big space like the Apollo feel more intimate and akin to an actual magic show. The sound design provides a joke which becomes a theme through the show in the form of an echo to the word ‘mind’ every time it’s said, and causes more than one instance of funny frustration in the Mangler himself trying to find synonyms to avoid the annoying repetition.

Henry Lewis, as Keith AKA the Mind Mangler, handles a full audience mostly by himself very well, establishing a good rapport with the spectators early on and keeping their focus through the ups and downs of the show. Jonathan Sayer in the role of ‘audience member’

as well as ‘different audience member’ (highlighted by his minimalist T-shirts) provides hilarity in a great interpretation of the magician plant and friend who forgets what he’s supposed to do, in the best example of how Mischief is so good at doing things wrong and making them look natural, though this is better achieved with the pair rather than the magician by himself.

The audience interaction is a fundamental part of the show, the biggest section being the reveal of the aforementioned secrets - picked from a bowl, Keith then proceeds to guess what they are, in an impressive guessing game that leaves you surprised and really wondering if Keith does have some true mind reading powers. The audience members themselves provide a great level of entertainment when a woman innocently replies ‘yes’ to Keith’s ‘are you asleep?’ and two participants swap Rubik’s cubes while he’s not looking, but the funniest audience’s offering must be the back-of-the-auditorium shouted reply in darkness at Jonathan’s asking for an animal to hypnotize Keith: shovel nose guitar fish, which I can confirm is a real animal after a post-show Google search. Praise to Keith for fully embracing the challenge and coming up with a bonkers impression for a fish, out of all animals, and committing to it every time the bell rang as part of the hypnosis.

The best recurring gag was without a doubt ‘Quick Fire Jesus’, with matching stained glass window and halo graphic projected on the back: a very quick unexpected play on wine, water and multiple loaves of Warburtons, that left me and possibly fellow ex-Catholics absolutely in stitches. The classic comedy rule of 3 works really well for this particular joke and proves successful at various points in the show, but sometimes comes through as repetitive, when halfway through the second trick you sit awaiting the inevitable third.

The rhythm of the show feels a bit disjointed, with a very fast beginning of back-to-back jokes that you don’t really have time to laugh at or you’ll miss the next one, while some sections, such as mentions of cruises and Las Vegas futures, slightly miss the comedic mark and, in addition to parts that have already reached a wide audience through TV programs, only end up stretching the running time. Unfortunately, the want-to-be earnest interactions between the two friends beyond the magician/plant relationship fall short in an attempt at building a story which doesn’t necessarily add anything to the show and is a shaky try at a ‘show within a show’ which only confuses the structure further. These

moments come out of nowhere in a show that does nothing to establish characters’ backgrounds (besides a weak and quite repetitive mention of an ex-wife with comedic intent) and doesn’t really have a plot line, and they come up shallow and invoke a panto-like response from the audience, ‘aw’ing and ‘oh’ing along, instead of emotional involvement.

I do believe some of the details mentioned would have been more appreciated by someone who is more of a fan of Mischief, has some previous knowledge of characters and has seen the original Magic Goes Wrong. As someone who has only seen The Play That Goes Wrong, I went into this unsure it was going to hold the comparison and unfortunately, though entertaining, it didn’t really change my mind. (Mind, mind, mind…)

Words by Rebecca Natalini

CABARET AT THE KIT KAT CLUB ON BROADWAY SHOW REVIEW

After a 2 year wait, Willkommen to Broadway, Cabaret Led by Oscar winner Eddy Redmayne, this production has finally come to New York and it was well worth the wait. Nominated for 9 Tony Awards including Best Revival of a Musical and nominations in all four acting categories, I had previously seen this production in the West End in 2022 and was thrilled to see it again. Cabaret has transformed the August Wilson Theater into the Kit Kat Club and gives us a taste of the Jazz Age in 1930s Berlin when the Deutschmark was low but in these clubs, life was beautiful. I was as blown away as I was two years ago and found it even more relevant today.

Tony-nominated scenic designer Tom Scutt has completely transformed the August Wilson Theater into the Kit Kat Club. The audience enters through the alley next to the theater and is presented with a shot of Schnapps (if over 21) and is ushered through the pre-show where the prologue performers greet you and introduce you to the world of 1930s Berlin. You’re engaged as soon as you enter and it feels like a party in an exclusive club. There are bars on each level of the theater, each one themed: green, red and a vault bar. The prologue performers eventually make their way onto the stage and interact with audience members seated at the cabaret tables. I encourage you to come to the show early to get the full experience of this immersive production.

Cabaret, first premiered in 1966, with music and lyrics by John Kander and Fred Ebb with the book written by Joe Masteroff. Inspired by Christopher Isherwood’s semi-autobiographical book, Goodbye to Berlin, which tells his experiences in Berlin during the Weimar Republic. Due to hyperinflation and nightlife, Americans flocked to Berlin to take advantage of the low currency. Isherwood lived in the city during the “Golden Twenties” but left as the Nazis grew in power.

In Cabaret, Cliff Bradshaw, an American writer, has come to Berlin to find inspiration for his next book. On the train, he meets Ernst Ludwig, who finds him accommodations and invites him to the Kit Kat Club to

usher in the New Year. He finds singer Sally Bowles on his first night, who he becomes enamoured with after seeing her perform. In an unexpected turn of events, Sally moves in with Cliff and they begin a relationship, giving Sally her first real taste of happiness. The musical shows the rise of Nazism in Germany through the perspectives of these characters and the transformation of the Kit Kat Club as it becomes overwhelmed with Nazis by the end, resulting in tragic endings for these characters, except Cliff who is the only one to see the dangers ahead.

Reprising his Olivier-winning role as the Emcee, or Master of Ceremonies, Eddie Redmayne has returned to Broadway for the first time since his debut in Red in 2010, for which he won a Tony, and is truly the star of this production which has earned him a second Tony nomination. Redmayne has incredible stage presence and charisma and grabs your attention from the first second and does not let it go for the entire show. He plays on both the comedic and dramatic moments that are key to the musical. His change in costumes throughout also echoes the change in Germany with the rise of the Nazism. His rendition of “Tomorrow Belongs to Me” is chilling with only his voice and no orchestration foreshadowing the darkness that is soon to overwhelm the country. It is no surprise that Redmayne was asked to return, for his Emcee is phenomenal and has been given high praise by Joel Gray, the original Emcee on Broadway.

Gayle Rankin stars as the Toast of Mayfair, Sally Bowles, a decade after she made her Broadway debut in the previous Broadway revival of Cabaret as Fraulein Kost. Rankin is now leading this production and does so with gravitas, making her mark as a leading lady on Broadway who has earned her first Tony nomination. Her performance of “Maybe This Time” is heartbreaking and gives both Sally and the audience hope for a better future for her, despite what we know is to come. The highlight of her performance comes at the end in the title song, where she has resigned herself to performing again at the club after dismissing her chance at a different life and happiness with Cliff. It is performed with grit and passion and brings the house down.

Long-time stage veteran Bebe Neuwirth makes her return to Broadway and based on the audience reaction to her entrance, is well-loved. Her long career

on both stage and screen has led to two Tony Awards and two Emmys and is in the Theater Hall of Fame. Her performance as Fraulein Schneider, the landlord of the boarding house where Cliff and other characters stay, is done with such grace and vulnerability. Schneider has learned to accept what life has handed her and accepts the lower rent from Cliff in a lovely performance of “So What”. She does not expect to find love late in life and finds herself engaged to Herr Schultz, a Jewish grocer, who brings her fruit including a pineapple which delights her. Shultz, played by Steven Skybell, fills out the quartet of Tony acting nominations for the production. It’s a sweet romance that becomes complicated by the political climate and Shneider chooses security over happiness despite Schultz’s assurance they will be okay as long as they have each other. Her rendition of “What Would You Do?” was one of my favourite moments of the show as you can understand her choice, partly due to fear, but heartbroken nonetheless. Neuwrith’s performance is a tour de force and her stage presence is undeniable.

The latest revival of Cabaret comes during one of the most consequential U.S. elections in history where a candidate has openly expressed desires for authoritarianism and dismissal of democratic standards. Far-right groups have been on the rise in countries long thought to be safe from fascism. As in Germany when Nazism rose slowly and then was suddenly overwhelming, this musical reminds us of the dangers of ignoring these groups until it’s too late to stop them.

Under the phenomenal direction of Rebecca Frecknall, this transformative production is one of the best pieces of theater I have seen on a stage. Tony nominees Tom Scutt (for both scenic and costume design), Isabella Byrd (lighting design) and Nick Lidster for Autograph (sound design) have reinvented this musical for the modern age immersing you into the Jaze Age of Berlin in the ’20s and early ’30s. As my mom so perfectly said after the performance was over “This is theater”. Come down to the Kit Kat Club to see this wonderful cast and production of Cabaret as never seen before.

Words by Helen Sullivan

BEHIND THE CURTAIN WITH THAO THERESE NGUYEN

Thao is a musical theatre performer based in the UK, currently playing the role of Anne Boleyn in the hit musical Six in the West End.

What and/or who inspired you to have a career in theatre?

From a very young age, different forms of art and creativity have always appealed to me. From drawing to playing music and then participating in performances at school. I must thank my aunt who saw the potential and passion I had for it and exposed me to the theatre world. She’d often take me out to see shows and send me to a local 3-hour Saturday stage school to have a little taste of what it’s like and to see whether I’d enjoy it.

What is your background in performing? Can you talk about your training?

Apart from school choir performances, I entered a lot of singing and university cheerleading competitions. Also, as part of the weekend stage school that I attended, I got the opportunity to sing an opening number at the Royal Albert Hall and perform at the O2. From then on, I felt pressured to think about how I could sustain a stable future in life, so I studied to become a primary school teacher specialising in music. I didn’t pursue the natural route of a performer and didn’t have any professional training.

My whole life changed when I did the open auditions for the revival of Miss Saigon. I was 19 and made my West End debut as an ensemble member. I left university for the job and was learning a lot during the process of the show. After that run, I also did the international tour where I became an understudy. That job was a real eye-opener to the industry, and I realised that I wanted to work on my craft, so I took loads of vocal and dance classes to gain more confidence. This got me noticed and then I was given the chance to teach my own dance classes. I knew I wanted to share my passion and knowledge of dance through teaching, which I still do to this day, and find it so rewarding.

What did you know about Six before auditioning?

I knew it was about Henry VIII’s ex-wives and that each queen represented a modern pop star but had no idea how it was put together.

How was your experience auditioning for Six? Were you called back for other queens?

I auditioned for it twice. The first time I was seen for Aragon, Boleyn, Cleves & Howard. The second time I was only seen for Boleyn. There were 7 rounds over 2 months, which sounds and felt like a very long process, but I honestly had so much fun because usually in auditions it can feel quite intense, but I remember how free I felt just being myself as well as screaming and cheering the others on. The vibes were immaculate.

What was the most interesting fact you learned about Anne Boleyn while preparing for the role?

That her sister Mary was Henry’s mistress and Howard, Henry’s fifth wife, was also her cousin - so it’s all very incestuous. Felt like the selection back then was from a very small pool! Also that Boleyn was the first ever queen to be publicly beheaded.

How was your first performance in Six?

I was thrilled to be in my element again but also really nervous as it had been around 4 years since I last took the stage. Boleyn is such a renowned character within history as well as her character in the show, so I couldn’t help but wonder if I was going to do her role justice and whether people would relate to it. But after doing the show and seeing how incredible the reactions were, I always run off the stage with so much joy and adrenaline.

Do you have any favourite memories of performing in the show so far? Any memorable onstage mishaps?

A favourite memory would probably be our first dress rehearsal when we got to see each other in costume/ makeup for the first time. A snippet was then released online which made the Queendom more curious and the reactions made things really exciting! From the very start of the show I just love hearing people scream and laugh at parts of the script - it really encourages me to work even harder and it’s so rewarding to feel that you can bring a positive energy to the audience.

Some memorable onstage mishaps…I lost grip of my prop playing cat and mouse just before my number which was very embarrassing, especially when the other queens are introducing you to the audience for the first time. Another memorable mishap was when I ripped off Cleves’ shorts when I wasn’t supposed to, as there was a costume blip that the other Queens were aware of, so it was my fault she performed the rest of her number without her pants on!

How would you describe your portrayal of Anne Boleyn?

Super cheeky and annoyingly adorable.

What do you want audiences to take away from the show?

Even with our differences, we can live harmoniously by celebrating our individuality without any judgement or comparison.

If you could originate the role of a historical figure, who would it be and why?

I would probably say Cleopatra. In history, she was known to be a strong and successful leader. She never played down her femininity and used her appearance as a political weapon. Being the last ruler of Ancient Egypt and a popular Pharaoh must have had its hardships and it would be interesting to share how she rose to power and coped in those times.

Words by Helen Sullivan

Thao Therese Nguyen (in green) with the company of SIX © All

If there ever was an award for ‘Best unreliable narrator’ then Charlotte Brontë, on the Dorfman stage looking straight at the audience with her cheeky smile, would win it without a doubt. And she’d do it standing tall in a field of Foxglove, pink and purple bells with both the ability to cure and harm that in the Victorian era meant both ‘insincerity’ and ‘immorality’, words which, by the time curtain falls, you’ll want to refer to the protagonist with. While she stands still, the flowers and plants surrounding her rise to become the ceiling, revealing their roots and intricate design of undergrowth, an omnipresent reminder of the Yorkshire nature the Brontës lived immersed in.

From the beginning, the story is a quick fire of jokes and witty lines, directed masterfully by Natalie Ibu. Due to the title, I thought the story was going to revolve around Anne, definitely the lesser known of the three - while we might not all agree about the most famous sister (opinions are swayed by whether you’re a Cathy/Heathcliff fan or a Jane Eyre aficionado) we’d all agree that the least famous is the youngest, Anne. The story is instead centred on Charlotte, played brilliantly by Gemma Whelan, more than I expected, with the oldest taking control of the narrative, which is however mainly focused on her relationship with Anne, given all the sweetness and quiet force by Rhiannon Clements. Emily, portrayed by Adele James, takes the backseat this time, appearing less than her siblings, crossing the stage to make fun of Charlotte’s nose or get in the middle of a fight and stand up for the youngest.

The costumes designed by Grace Smart are a vibrant array of colours and shapes, with Charlotte in red, Emily in blue, and Anne in purple - even in the clothing she’s not a primary colour but rather the blend of her sisters. The ensemble cleverly and proficiently play all supporting characters from screaming children of aristocratic families all the way to writers in waistcoats and sunglasses, and even portray Elizabeth Gaskell, a close friend who wrote Charlotte’s biography, in thin framed glasses as she proclaims women’s rights. They’re all clad in very bright costumes, almost cartoonish designs that make the whole story feel like a fairytale more than a real word, but make it impossible to look away. To be fair, tall men in striped robes, blue moustaches, monocles and smoking pipes are quite close to what I imagine the closed rooms of CEOs and managers to be these days anyway.

The lighting design by Zoe Spurr does a great job of colouring the scene, quite a dark set with a revolve that makes the furniture appear and disappear easily, with stints in more cold lighting as we go from scenes to Charlotte’s own thoughts and fourth wall breaking. The music for the show designed by Alexandra Faye Braithwaite was a total surprise - Charlotte slow dances to Come Away With Me, a

Norah Jones’ personal favourite, and, in a very unexpected choice that is actually very apt for Charlotte, one of the songs that underscores a scene is All American Bitch by Olivia Rodrigo. Who knew that a curtain call (which also included the backstage crew for once) would work perfectly to ‘I’m pretty when I cry’.

The show is a funny, beautifully told story of sisterhood above all else, not because it takes precedence but because the whole story is driven by it. Charlotte, or Emily for that matter, would have been nothing without her sisters, from publishing that first poetry collection with them - she’s the first to admit that her poetry isn’t nearly as good as her sisters’ - to supporting each other through the attacks of their contemporary world. Even when they fight and turn on each other, sisterhood remains at the forefront. After all, love and hatred, and everything in between, are the pillars of familial relationships - only a sister will love you enough to want to protect you from society’s harsh judgement but also be jealous and controlling enough to pull your novel from publication, erasing you from history. And only a sister could ever forgive you for it. Charlotte survives both her sisters, and I’d lie if I said their death scenes didn’t make me a little bit weepy, with her reciting one of Emily’s poems in harsh lighting and giving us a very poetic ‘I rearranged the stars to make room for her’ while Anne falls asleep in a bright red bed after a fruitless healing trip to the seaside, reminiscent of another pair of sisters on the other side of the ocean, though that women-led novel won’t get written for another twenty years.

The ending is not as boisterous and quick as the rest of the show; it’s a simple conversation between Charlotte and Anne, through the glass case symbol of the fame the former has spent her whole life chasing, on display in the Brontë Parsonage Museum, the ensemble now frozen members of the public just like us – the true reason this show exists in the first place. Only them, the two underdogs, Charlotte probably seeing herself as one with her skewed perception of having the world and her sisters against her, and Anne, the one history will indeed remember as such, stuck in a corner in the shadow of two writers that made English literature and also happened to love her. Maybe all Underdog does in its final quiet moments is try to redeem a selfish, wanting, unsatisfied Charlotte Brontë who, in the end, was not an author, but just a woman. A sister. Someone who was hard to love. But will be ‘forever known’ like she had always wanted. Who knows if that would be enough for her?

Words by Rebecca Natalini

HADESTOWN ON TOUR SHOW REVIEW

How could something so heavenly sport the name Hadestown? With its 13-year road to Broadway, Best Musical Tony and 5-year-long running show, this isn’t a new question. We’re told by Persephone (Lana Gordon) that Hadestown is “hell on Earth,” and that might be canonically true, but what I witnessed at the Landmark Theater in Syracuse, NY was anything but.

Our carnival barker for the night, Hermes (Will Mann), explains that what we’re hearing is an old tale. As a ‘Hadestown’ fan myself, I was incredibly familiar with the story, original Broadway cast recording (OBCR) and (my favourite) 2017 live original cast recording. It’s a musical with a lot of history that also discusses history (or, well, mythology). Despite all this knowledge, familiarity definitely does not breed contempt as it appears Hadestown has gotten cooler with age.

Hermes graces the stage and we are met with the sounds from the incomparable band (major kudos to Eric Kang; Dionne Hendricks; Clare Armenante; Max Caine; Emily Fredrickson; Calvin Jones; Eladio Rojas and Natalie Spehar with coordination by David Lai). It’s a blessing this musical is entirely sung through because the gift of this music is worth more than the ticket price. Anaïs Mitchell’s 2010 album found me in 2016 when I first heard of the project, and despite the folk/indie barebones of the then score, it translates beautifully to the stage (thanks to sound design by Nevin Steinberg and Jessica Paz). Paired with the Tony Award-winning direction of Rachel Chavkin, it became clear that the audience around me didn’t realize just what a wonder

this production was and how lucky they were to be in attendance.

Even if you’re not familiar with the mythology of Orpheus (J. Antonio Rodriguez) and Eurydice (Amaya Braganza) or Hades (Matthew Patrick Quinn) and Persephone, Hadestown tells a more “jazzy” version, complimented by actual Louisiana-inspired Creole music. Eurydice no longer dies by snakebite and Hades’ story becomes one of modern-day relation (immigration and climate change). What was once a word-of-mouth story that found its way into a book, Rachel Hauck’s set teaches us the same lore from the comfortability of a basement jazz joint that doubles as Hades’ electrifying factory (Bradley King’s at times blinding lighting design).

While at our makeshift jazz club, the A-plot begins. Orpheus sees Eurydice and our hopeful love story begins. Braganza’s Eurydice is silly instead of just tough, almost not taking the material seriously. They sing with the inflection of Eva Noblezada’s Eurydice, but provide us long-time fans with some new riffs that cannot be heard in the OBCR. Rodriguez is one of two big stars of the evening, causing gasps to echo throughout the orchestra of the Landmark as we first hear his earworm-y “la”s. After having read his story of being unable to perform on certain tour stops due to DACA delaying his renewal, I was even more moved by his performance and the personal experience he brought to the story of Orpheus. The poet and the hungry young girl tell you exactly who they are and how their story plays out from the very beginning if you listen closely.

If you let your eyes wander from the main events playing out for the first five songs, you will see Persephone and Hades sitting atop the set at a table; sometimes talking, sometimes not. That is the real start to their story; hands barely touching and snipped conversations mimicking a couple happily in love. When they do finally step into the spotlight, their tale of broken love plays in direct opposition to the young lovers. A Jack Skellingtonesque Hades, Quinn embodies fear in the most sinister of ways: rooted in insecurities and love. Our second star of the evening finds itself in Gordon’s Persephone, and boy, does it burn. Her addiction to alcohol and drugs finally makes me understand why people keep up with the Joneses; she makes anything look cool. I would be remiss if I did not mention her prolonged note in “Our Lady of the Underground” that caused one of the longest fits of applause I’ve ever heard. Well done, Ms. Gordon.

Weaving their way through the story as our makeshift narrators are the Fates (Marla Louissaint, Lizzie Markson and Hannah Schreer) along with Hermes and the ensemble of workers (Sevon Askew; Ian Coulter-Buford; Cate Hayman; Quiana Onrae’l Holmes and Timothy H. Lee). The Fates were aggressive and persuasive, playing a much bigger part in the story than, say, the 2017 live recording. This helped push the story along and emphasize the themes of temptation and yearning with perfectly blended vocals from the trio. Mann brought power and energy to Hermes that worked well for the “man with feathers on his feet.” His vocals were smooth, though there were far too many attempts at riffing that poorly showcased his vocal ability. The ensemble

manoeuvred the multitude of costumes (Michael Crass) and set changes with ease, all while dancing to the beat of Eladio Rojas on the drums (and of course David Neumann’s haunting choreography).

Hermes tells us that this is not only an old song that they’re singing, but a sad one. One might question why sad stories deserve to be told, especially again and again on tour. The story of Hadestown ends each night with Orpheus as he was at the start; a poet. Instead of choosing love and stability, he turns around and picks the other way, the poet’s way. Once he completed his song for spring, his purpose was Eurydice. But why have her when you can have the idea of her and dedicate your life to making hers breathe in music? So, they sing their sad song and we get to leave wishing things had worked out; the cast Orpheus and the audience Eurydice. That may be “hell on Earth” to some, but the poets might just disagree.

Words by Sophia Rubino

SHOW REVIEW

GUYS & DOLLS AT THE BRIDGE THEATRE

‘‘Between the visuals and performances, it’s honestly just a great time at the theatre, and the semiimmersive aspects only add to that.’’

When the immersive revival of Guys and Dolls opened at the Bridge Theatre back in March of last year, the reviews were quite laudative, to say the least. I finally got to see it recently and see what all the rave was about.

Let’s get something out of the way first: how immersive is it? When you book a ticket, you can choose whether you want to be in the immersive standing section in the stalls, or if you want to watch from the balconies on all four sides of the auditorium, which has been remodelled a bit for this production.

Of course, I got one of the immersive standing tickets. When I walked in, there were a couple of neon signs hanging from the ceiling, and on the very floor of the auditorium, a pretzel stand, a hat stand (you could actually buy the pretzels and fedoras!), a couple more (pretend) stands and three diner tables, at which you could sit as you waited for the show to start.

Then, stage managers appeared and asked us to leave our seats and stand behind some lines on the floor. Actors (in character) started walking in as street vendors, interacting with the audience—a shoe shiner picked me to have my Doc Martens pretend-shined by him, which was quite fun! Finally, blocks of stage rose up and more actors started walking in, opening the show with the iconic ‘‘Fugue For Tinhorns’’ (after a lovely overture by the gorgeous orchestra).

Once Act One has started, you’re in for quite a show! You’re kind of always moving as stage managers, dressed as beat cops, usher you around the ever-moving blocks of the stage. It is a little unsettling at first but once you get used to it, it’s quite exciting and keeps you on your toes! There are audience members all around the stage at all times so Nicholas Hytner’s direction and blocking were clearly elaborated with this in mind and the actors are always facing different sides of the stage. It’s done quite well and doesn’t feel too artificial, which from experience is not always the case in this kind of configuration. The only downside is, that although the performers are miked-up, I couldn’t always hear the dialogue very well when the actors were facing away from me. I feel like it was only in the beginning though so it might have just been a fluke, who knows!

So, once the show has started, the actors are above the standing audience on platforms and the show isn’t as immersive as during that brief pre-show moment. It’s quite a traditional format in the sense that the actors interact with one another as if the audience weren’t

there and we voluntarily suspend our disbelief, as we are used to doing at the theatre. If you’ve been to fully immersive productions like Gatsby or Punchdrunk shows for example—this isn’t anything like that. Everyone gets to see the same story, if only from different viewing angles, more like the recent Newsies production that played in Wembley last year (but more intimate).

However, every now and then the actors do interact with the audience as if we were passers-by on the street, or the audience at Miss Adelaide’s Hot Box club. I’d say these were some of my favourite moments, as it feels nice to be involved and part of the story in some way. In one song (I’m pretty sure it is the title track ’’Guys and Dolls’’), a few men are picked by the stage managers to be part of the show in a more active, or at least visible, way. All in all, I would say it is a quite balanced compromise between fully immersive shows where you physically can’t see the whole story in one visit and the traditional format where performers and audience are completely separated. Even in the standing area, you can choose to stay in the back if you don’t want to be too involved either, but you still get to be quite close to the action.

In terms of performances, you are really in for a treat. The stellar cast is led by Owain Arthur as illegal crapgame organiser Nathan Detroit, Timmika Ramsay as Miss Adelaide, his fiancée (of fourteen years!), George Ioannides as betting addict/enthusiast Sky Masterson and Celinde Schoenmaker as Mission activist Sarah Brown, trying to set them all on the right path. The two main couples provide flawless performances throughout the entire show, as do the very talented ensemble!

Detroit has a rich voice and is hilarious in his ‘‘gangster in love with his doll’’ role. Ioannides is wonderful and blew me away during ‘‘Luck Be A Lady’’—given the audience’s reaction during the bows, he also made many people fall in love with him, which is very on-brand with his charmer of a character. But it’s Ramsay and Schoenmaker everyone really had eyes for! Accompanied by a captivating female ensemble, she shone the most as the star dancer of the Hot Box in ’’Take Back Your Mink’’. Schoenmaker is brilliant in her role which requires her to use the legit soprano register that she is known for, but also some high mix-belting, which is quite impressive! The cast is quite extensive so I cannot mention everyone, but I simply couldn’t fail to talk about the incredible Jonathan Andrew Hume who is terrific in the role of Nicely-Nicely Johnson, with a dazzling performance of the iconic ‘‘Sit Down You’re Rocking The Boat’’.

The whole show is quite a spectacle, with stunning

costumes by Bunny Christie and of course Arlene Phillips and James Cousins’s brilliant choreography. Even Christie’s set, which has to be quite bare given the nature of the moving stage with no back wall, is still enough to take you right back to 1950s Manhattan. It’s quite impressive actually, and I really must give the stage managers their flowers for managing the movement of the set pieces and props to create a very smooth result.

Lastly, we need to talk about the actual content of the show! Based on Damon Runyon’s stories about the gangsters of New York City, it was written by Jo Swerling and Abe Burrow with music and lyrics by Frank Loesser and premiered on Broadway in 1950, which was… quite a long time ago! It is very much about men and women, gender roles and stereotypes—it’s already in the title! So, I was a little worried about the story feeling outdated and maybe just a tad sexist. As somebody who has never seen the musical or its film adaptation, I was pleasantly surprised to discover that it was actually not too bad on that front. Some things were still a little on the edge but I feel like most of the show pokes fun at all these stereotypes, and in the end, it is the strong women leads who prevail… Although their success is found in marrying a man and settling down. Still satisfactory for a show written at that time though!

I would say that these details did not stop me from enjoying the show as there isn’t anything offensive, the whole premise is quite humorous and light-hearted and only really plays on gender roles. Between the visuals and performances, it’s honestly just a great time at the theatre, and the semi-immersive aspects only add to that. In fact, the show ends with a little dance party on the floor of the stalls, with some of the performers staying to dance with the audience, which is really fun. You’ll definitely be leaving the venue on a high!

So be sure not to miss Guys and Dolls at the Bridge Theatre—it will sadly close on 4 January 2025 after almost two years in London. In the meantime, you can always give the cast recording a listen, it is really qualitative!

Words by Clélia Gessner

a verystagey week new-york city in

In May 2020, I was supposed to go to New York City. I was so excited, I had even started to plan everything and bought my tickets for the Broadway shows I would seeHadestown, Beetlejuice and Moulin Rouge!. But as we all know, the pandemic struck and all of Broadway went dark. So, the trip was pushed back and back… until last month, April 2024.

On April 23rd, 2024, I finally landed in the Big Apple and my theatre journey began. As expected, I started by exploring Times Square and all the Broadway theatres. I enjoyed noticing the little differences between the two countries regarding the arts.

The first time I had the opportunity to go to a Broadway show, I barely knew the West End. Thus, being in the theatre district with all the shows around was absolutely magical for me. Although it was still magical to be back after so many years, I felt less starstruck than I was eight years ago. I have been living in London for over five years now and I am more than accustomed to the ways of the West End and its theatres. And one thing that struck me was the architectural differences. West End theatres are usually old(-er) buildings with beautiful facades that stand out from the rest. On Broadway, theatres have more modern facades. Not to be biased but I do love older, more Victorian architecture, and so, I felt that Broadway theatres were slightly less charming than the ones we have in the West End.

However, Broadway seems to have a much bigger influence than the West End. Going to Broadway is very much part of the culture, making it quite popular to have a night out to go to the theatre. Even though this is also the case for the West End, it seems to be less soughtafter, despite the much more accessible tickets. But

then, maybe the price makes a difference? On Broadway, shows are really expensive nowadays, and thus, it might be seen as more high-end and fashionable to attend a performance. I know many people in London, including British natives, who have not been to the theatre and don’t even consider going in the future. It seems to be reserved for people who are familiar with the arts.

Besides, on Broadway when a show opens for instance, it is a big event for the entire city. Streets leading to the theatre are blocked, allowing for the red carpet and the people involved with the show to be greeted by the press. Famous newspapers such as The New York Times or Variety will feature the opening and most-awaited reviews. Reviews are critical to the well-being of a show on Broadway, a bad one could lead to an early shutdown. This seems to be less the case for the West End as shows are more often there for a limited time - no matter the reviews or attendance - bar a few exceptions, of course.

Enough about the West End, although it is always interesting to notice this change of patterns between two countries big on the arts. I was only in New York City for five days so I made the most of it and decided to see four shows. The first night, I went for a classic, which has personal significance: Wicked at the Gershwin Theatre. Starring Mary-Kate Morrissey and Alexandra Socha as Elphaba and Glinda, it was so special seeing this iconic story on a Broadway stage, especially after knowing the West End version so well. Also, the theatre has a beautiful inside mural depicting the map of Oz and an impressive reproduction of The Dragon Clock in the entrance! My second stop was at the Lunt-Fontanne Theatre to see the acclaimed production of Sweeney Todd: The Demon Barber of Fleet Street starring Aaron Tveit and Sutton Foster. My seat was slightly far from the stage as it was a very popular musical but it was worth it! Tveit and Foster were dark yet hilarious in their roles and led the show

with finesse and artistry. I was very grateful to see such classic stories on Broadway stages!

My next two shows were more recent works: Suffs and Lempicka. Suffs at the Music Box Theatre is about the fight of women suffragists in the United States to get the right to vote. Led and written by Shaina Taub as Alice Paul and featuring some prominent figures of the women’s suffrage movement including Carrie Chapman Catt (Jenn Colella), Ida B. Wells (Nikki M. James), Lucy Burns (Ally Bonino), Inez Milholland (Hannah Cruz), Ruza Wenclawska (Kim Blanck) and Doris Stevens (Nadia Dandashi). Lempicka at the Longacre Theatre also tells a historical story, that of the Polish painter Tamara de Lempicka whose work was celebrated throughout the 20th century for her bold and stylised representation of beauty. The musical explores this complex and powerful character as well as the relationships that shaped her life and her art. I was very honoured to see Tony Award nominee Eden Espinosa, one of my favourite artists of all time, as the leading lady of the show.

As you may know, Curtain Call Magazine has an international team including writers from or around NYC. I then used the opportunity of this trip to meet up

with some of our team members - and friends - Helen and Alecia. With Alecia, who is studying uptown to become a journalist, we went to a very famous theatre diner, Ellen’s Stardust Diner, where waiters sing in between serving food. Let me tell you these people are talented, it was almost as if they were putting on a show in front of us! It was such a joyful and creative way to have lunch. I then met up with Helen, who’s studying out of town and was back for the weekend, to go to The Museum of Broadway. Yes, a museum entirely dedicated to Broadway! It features information about all the shows that made it to the big stage from the beginning up to now as well as costumes, props, and creative documents from past productions. It is immensely interesting so go if you’re a fan of theatre, you won’t regret it!

At long last, I had to say goodbye to New York City for a warm welcome and such a stagey week with friends and incredible theatre! Hopefully, this is a see you soonmaybe to 2025 with my co-editor-in-chief Léna!

Words by Constance Drugeot

Words by Alecia Solorzano

Pictures: All Rights Reserved

Brody Grand stars OF Theatre

Brody Grant, was most recently nominated for the 2024 Tony Award for Best Performance by an Actor in a Leading Role in a Musical. This nomination was given for his work as Ponyboy Curtis in The Outsiders musical, which is now running on Broadway at the Jacobs Theatre. This show is Grant’s Broadway debut. Before this, Grant has produced music as a solo artist.

Jonathan Groff

Jonathan Groff has made his mark in performances on stage and screen. He rose to prominence with his Tony Award-nominated portrayal of Melchior Gabor in the original Broadway production of Spring Awakening. His other stage credits include Hamilton and In My Life, where he made his debut. He also famously portrayed Jesse St. James in the television series Glee. Groff’s Tony nomination this season is also for Best Performance by an Actor in a Leading Role in a Musical for his work in Merrily We Roll Along.

Maleah Joi Moon

Maleah Joi Moon is a new face rising to the theatre and entertainment scene. Moon has recently been nominated for her role of Ali in Alicia Keys’ new Broadway musical, Hell’s Kitchen. The Tony nomination she has received is for Best Performance by an Actress in a Leading Role in a Musical. She also worked for Disney in their show, Disney Television Discovers: Talent Showcase.

Sky Lakota-Lynch

Another face from The Outsiders musical and Tony Nominee is Sky Lakota-Lynch. Sky’s other Broadway credits include Dear Evan Hansen as a Jared Kleinman replacement. Additionally, he has participated in multiple Off-Broadway productions. Now, he is nominated for Best Performance by an Actor in a Featured Role in a Musical for his role as Johnny Cade in The Outsiders.

Kelli O’Hara

An infamous eight-time Tony Award Nominee, Kelli O’Hara has an impressive range of entertainment credits. O’Hara has graced the stages of Broadway in iconic roles such as Clara Johnson in The Light in the Piazza and Anna Leonowens in The King and I. This season, O’Hara is nominated once again for Best Performance by an Actress in a Leading Role in a Musical for her role in Days of Wine and Roses. Her talents extend beyond the stage, with notable appearances in film and television, cementing her status as one of the most respected and beloved figures in the world of musical theatre.