Tag Archives: Amber Woodward

Magic Mike Live
★★★★★

Hippodrome Casino

Magic Mike Live

Magic Mike Live

Hippodrome Casino

Reviewed – 29th November 2018

★★★★★

“opens in the cheesiest way imaginable, but ends up unexpectedly challenging stereotypes”

 

Channing Tatum brings his hit Las Vegas show to London’s Hippodrome Casino with heady anticipation. Magic Mike Live promises to give women everything they want and need and I’m delighted to say it delivered.

There is a loose narrative involving Sophie (Linder-Lee) and an Italian waiter dubbed Mike (Sebastián Melo Taveira), who she has summoned on stage using the power of the unicorn (yes, it is as bonkers as it sounds). Sophie wants to teach Mike how to please a woman, and so begins Mike’s journey as he learns to dance from his fellow performers.

It’s tongue in cheek, much more so than the films were. But unlike the films (barring Tatum of course), the entire cast really can dance. They are not restricted to posing and grinding to raunchy R&B, but excel at break-dancing, tap dancing, and even Mission Impossible style aerial stunting. Melo Taveira is jaw droppingly good, particularly during an intensely seductive duet performed in the rain with Hannah Cleeve. But talent abounds in this show and is not limited to dance alone. In one number, each guy gets out an instrument (of the musical variety) playing live to Zayn’s PILLOWTALK.

The MC, Sophie, is often one step ahead of the audience. She preaches that women can ask for what they really want out of the men in their lives, and also gives a lesson on the importance of consent. The show opens in the cheesiest way imaginable, but ends up unexpectedly challenging stereotypes. There are some surprisingly progressive messages for a show which, at its core, objectifies the male body.

The staging makes sure you’ll have a night to remember in every seat of the house. The central stage supplemented by a raised balcony, for the glorious benefit of the upper circle, and the performers mingle with the crowd among the cabaret style tables. Such attention to detail is also given to the fake ‘unicorn’ bills which are handed out to be thrown to the dancers for encouragement, not that they need much more of it with the constant whooping and cheering.

I will be explicit. There are thirteen attractive, impossibly fit, male dancers who all strip off during the show. Some of the time they keep their clothes on, but the biggest screams and applause come when they don’t. It’s a show which knows its audience, but supplements the sex appeal with technically brilliant performances and high production values. A strip show for the discerning lady, if you will.

 

Reviewed by Amber Woodward

Photography by Trevor Leighton

 


Magic Mike Live

Hippodrome Casino until October 2019

 

 

 

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Dystopian Dream

Dystopian Dream
★★★★★

Sadler’s Wells Theatre

Dystopian Dream

Dystopian Dream

Sadler’s Wells Theatre

Reviewed – 27th November 2018

★★★★★

“a hybrid piece of dance-musical theatre with as much emphasis on the tech as the physical performers and music”

 

Dancers Honji Wang, Sébastien Ramirez and vocalist Eva Stone bring Nitin Sawhney’s 2015 album Dystopian Dream to life in this compelling performance. This fusion of hip-hop, contemporary ballet and aerial work accompanied by live singing, artful visuals and beautiful costumes is a feast for eyes and ears.

Sawhney has written scores for TV and film as well as releasing multiple studio albums, with his full body of work earning him the 2017 Ivor Novello Lifetime Achievement Award. Sawhney has composed music for the Sadler’s Wells stage before, having worked with Akram Khan since 2002. Where Dystopian Dream differs is that the dance performance has been born after engagement with the music, rather than a collaborative process between composer and choreographer.

Company Wang Ramirez’s interpretation reflects the genre-bending nature of the music, taking inspiration from breaking to ballet and combining these with complex and clever aerial work. As performers, Honji Wang and Sébastien Ramirez have distinctly personal modes of expression which are, on their own, engaging to watch. The most exciting moments, however, come from the unique blend of their styles in duets between the pair, particularly during the track ‘Dark Day’ accompanied by the haunting vocals of Eva Stone.

Stone’s presence on stage is mesmerising; on more than one occasion did I find myself watching her sing in relative darkness, as opposed to the better lit and more active dancers. That is not to say that Stone’s only role on stage is to sing. Quite the opposite. She joins Wang and Ramirez in a playful pas de trois, is hung and swung around the stage and finally stood on top of, all whilst elevating the soundtrack with her darkly soulful voice. It’s truly impressive how flawless she sounds throughout.

Shizuka Hariu’s modernist set design is integral to the performance. Spread between two tiers connected by a curved ramp, it was able to cast its own shapes and shadows onto the stage, by virtue of Natasha Chivers’ lighting design. Yet it also provided a surface on which to project and enhance the interactive visual effects developed by Yeast Culture, lead by Nick Hillel.

This is not your average show. It’s a hybrid piece of dance-musical theatre with as much emphasis on the tech as the physical performers and music. The aerial operators, visuals, set, lighting and costumes by Hussein Chalayan all come together to create a whole much greater than just the sum of its parts.

Reviewed by Amber Woodward

Photography by  Johan Persson

 


Dystopian Dream

Sadler’s Wells Theatre

 

Previously reviewed at this venue:
Medusa | ★★★½ | October 2018
The Emperor and the Concubine | ★★★★ | October 2018
Layla and Majnun | ★★★½ | November 2018

 

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