Aria Entertainment Archives - Page 9 of 13

Night of the Living Dead Live!

Pleasance Theatre

Reviewed – 16th April 2019

★★★

“full of unique and inventive ideas that create an air of originality to the play”

Based on George A. Romero’s classic 1968 movie of the same name, Night of the Living Dead Live! translates the horror story to the stage. This comedic adaptation is stylish and performed brilliantly with some exciting theatrical twists, however it doesn’t quite live up to its horror-comedy expectation.

The show opens with the murder of Ben (Ashley Samuels), who has been hiding in a house from ghouls, which are essentially zombies. Discovered by the Chief (Mike Bodie) and his sidekick Vince (Tama Phethean), the story then rewinds as we watch how the whole thing unfolded. An eclectic mix of characters assemble, including a squabbling couple, a soppy, loved up couple, and the seemingly vacant Barbara (Mari McGinlay). The first act follows the characters bicker and fight in their attempts at survival, and the second act then diverts from the original film narrative in its exploration of alternate endings; what if the leader of the group was a white, all-American man, or what if the leader was a woman? The show plays out every possibility to test which is the best method to survive the night of the living dead.

The production is full of unique and inventive ideas that create an air of originality to the play. Firstly, a section of the audience is seated on stage, dressed in boiler suits and shower caps, literally seated in the middle of the drama. These members of the audience are invisible to the characters on stage, but they are not safe from the blood splatters and violence that plays out before them; the seating area is quite literally called the ‘splatter zone’. To my relief, I wasn’t seated on stage, but I enjoyed watching those who were – their amusement and horror at being covered in blood became a comedic element in itself.

Secondly, the design of the production (Diego Pitarch) was stylish as it attempted to replicate the black and white aesthetic of the movie. The actors were all painted and dressed monochromatically, as was the entire set, and this was really effective in creating the old movie tone that laced the script and performance in general. This tone was heightened in the use of music; tense country music introduced the scenes (soundscape and compositions Samuel West) alongside dramatic, horror movie sounds (sound design James Nicholson and Paul Gavin) that kept all the audience on the edge of their seats – I heard people gasp and felt them jump when these sound effects were played. The production understood the importance of sound in creating tension and exploited it to its full advantage.

Similarly, performances were strong all round, and every actor managed to intentionally embody that awkward style of the stilted, old-Hollywood performers. Jennifer Harding was a real stand-out, playing two very contrasting characters with absolute conviction and perfect comedy- both the characters of Helen and Judy became a joy to watch. Benji Sperring’s direction was neat and flowed nicely, and he certainly lived up to his ambition of wanting to make theatre fun.

That said, there were moments in the drama that lacked significant tension that the design and performances couldn’t disguise. The play started off with a lot of promise but it took too long to progress the narrative. The mix of horror and comedy felt natural to the piece, but the first act slowed in certain places and while the second act redeemed it, picking up the pace, the repetitive structure seemed to stunt its potential rather than push it further. While some jokes sparked, other felt laboured and I felt restless rewatching certain pieces of dialogue over and over. Despite that, the stakes were definitely raised in the second act, and they became higher and higher culminating in a fun and bizarre conclusion that definitely ends the show on the high.

Having not seen the original film, I was worried that some references would go right over my head, and perhaps that’s why I struggled to connect the whole time. I could tell some people responded well to the play and I have no doubt that those on stage had a really fun evening out because it does provide a unique theatrical experience. However, sat in the stalls I sometimes felt like there was a private joke I was missing out on. I’m sure fans of the film will have a great time, but despite its style and energy, I have to admit I was left a little confused and alienated by the whole thing.

Reviewed by Tobias Graham

Photography by Claire Bilyard

Night of the Living Dead Live!

Pleasance Theatre until 19th May

Last ten shows reviewed at this venue:

Bismillah! An ISIS Tragicomedy | ★★★★ | April 2018

Aid Memoir | ★★★ | October 2018

One Duck Down | ★★★★★ | October 2018

The Archive of Educated Hearts | ★★★★ | October 2018

Call Me Vicky | ★★★ | February 2019

Click here to see more of our latest reviews on thespyinthestalls.com

★★★★

“The performances marvellously capture all the aspects of love that the libretto tries to convey”

Andrew Lloyd Webber’s “Aspects of Love” was met with a mixed reception when first written and produced in the eighties, and it is indeed one of his more curious affairs. Its own meandering inception and evolution seems to match the rather convoluted plot, based on the autobiography of David Garnett, Virginia Woolf’s nephew. Originally mooted as a film for which Webber and Tim Rice were to contribute some songs, it morphed into an unrealised collaborative cabaret with Trevor Nunn at the helm, before lyricists Don Black and Charles Hart came on board to help steer the vessel in some sort of definite direction. Sandwiched between “Phantom of the Opera” and “Sunset Boulevard” it probably suffered from a lack of focus and some have said it lost its way.

Katie Lipson has untangled the rigging in this revival, first produced last summer at the Hope Mill Theatre in Manchester, and put it well and truly back on track; also showing us that there is more to this musical than the hit song, “Love Changes Everything”. For there are some truly striking melodies which, by stripping the accompaniment back to just two pianos and percussion, are now allowed to shine through the otherwise lumbering sung-through dialogue.

The story begins with the character of Alex (Felix Mosse) who is looking back over his life. It then flashes back to 1947 when he fell in love with Rose Vibert (Kelly Price), the star of a touring acting company. The young Alex convinces the older actress to spend two weeks with him at his Uncle George’s unoccupied estate. When Uncle George (Jerome Pradon) returns unexpectantly and finds himself attracted to Rose, the complications begin. Complications not just for the characters within the story though; but for the producers too. The trick now is how to keep the audience engaged as the characters canoodle their way through the doodling plot, occasionally thrown off kilter by sudden shifts in time.

But Lipson has the Midas Touch when it comes to musical theatre and has once again assembled an impressively strong cast. The performances marvellously capture all the aspects of love that the libretto tries to convey. Jonathan O’Boyle’s confident direction allows the detail to be seen through the myriad scene and time changes. And if you don’t really care for the plot you certainly care about the characters.

Despite the heavy-handed feel of the piano accompaniment (which some tweaking on the sound desk could quickly cure) the vocal performances are beautiful and searingly moving. Mosse’s intimate yet unsentimental rendition of ‘Love Changes Everything’ is a delightful detour from the original, but the highlights of the show include Price’s heart rending ‘Anything But Lonely’ and Pradon’s understated opening to the Ivor Novello tinged ‘The First Man You Remember’.

But beyond this central love triangle is where the interest really lies. Madalena Alberto, as the free-loving Giulietta is compellingly watchable; Eleanor Walsh, as the fifteen-year-old Jenny, gives an assuredly mature performance that eschews the uncomfortable Lolita-style caricature that is often associated with the role. And Minal Patel, as actor manager Marcel, softly steals the smaller stage time he is allowed with his velvet voice.

It is a tricky show that explores perhaps too many variations on the theme of love. But it seems that this intelligent cast has picked one aspect, made it their own, and let it shine. Like the diamond in the mire, this clear-cut production lets the emotion glisten.

Reviewed by Jonathan Evans

Photography by Pamela Raith

Pleasance Theatre

Reviewed – 16th April 2019

★★★

“full of unique and inventive ideas that create an air of originality to the play”

Reviewed by Tobias Graham

Photography by Claire Bilyard

Night of the Living Dead Live!

Pleasance Theatre until 19th May

Last ten shows reviewed at this venue:

Southwark Playhouse

Reviewed – 10th January 2019

★★★★

“The performances marvellously capture all the aspects of love that the libretto tries to convey”

It is a tricky show that explores perhaps too many variations on the theme of love. But it seems that this intelligent cast has picked one aspect, made it their own, and let it shine. Like the diamond in the mire, this clear-cut production lets the emotion glisten.

Reviewed by Jonathan Evans

Photography by Pamela Raith

Aspects of Love

Southwark Playhouse until 9th February

Last ten shows reviewed at this venue: