Tag Archives: Ryan Dawson Laight

Nutcracker

★★★★★

Tuff Nutt Jazz Club 

NUTCRACKER at the Tuff Nutt Jazz Club 

★★★★★

Nutcracker

“McOnie’s clarity of vision and impeccable execution results in a production that is fun, fanciful, and doesn’t take itself too seriously”

Entering the Tuff Nutt Jazz Club, squirrelled away underneath the Royal Festival Hall on the Southbank, you can already tell you’re in for a treat of a production. A cool terrazzo topped bar awash with warm and inviting diffuse lighting greets you whilst upbeat, mildly festive jazz plays through the speakers to get you in to the spirit for one of dance’s quintessential Christmas favourites, reimagined.

Director-Choreographer Drew McOnie has devised a fresh and modern take on the classic ballet that maintains much of the structure but plays with form. Rather than Clara, we have Clive, who is waiting for Christmas in his small flat with his financially stressed father who would rather Clive played with Action Man than the fairy on the top of the Christmas tree. These two do not understand each other, but over the course of the next hour, through fantastical imaginings in Clive’s dreams, they come closer together.

Part of The Nutcracker’s enduring legacy is Tchaikovsky’s 19th century score, with key pieces, such as the dance of the sugar plum fairy, instantly recognisable and memorable. In McOnie’s production, these classical pieces are interpreted with a jazz influence by composer Cassie Kinoshi. Many of the most-loved refrains still drive the score, but are saxophone forward, reflecting the composer’s own instrument of choice. The four piece band, casually dressed in pyjamas, are perched on a small stage at the top of the club and are a pleasure to watch alongside the main action of the dancers.

But it is, of course, the dancers that take centre stage. Mark Samaras is utterly charming in the lead role of Clive, believable as a young boy all wide-eyed with wonder, whilst displaying a maturity of movement through self-assured rhythm and flow, all the more impressive given he is covering the role due to injury. Amonik Melaco as the modern nutcracker, Action Man, gives us a convincing transition from stereotypical masculinity to a more nuanced and fluid expression. His pas-de-deux with Sugar Plum Patricia Zhou towards the emotional climax of the piece is uplifting, physically and spiritually. The small cast of six are all strong and supple with heaps of charisma, each bringing a unique flavour, quite literally, to the piece.

“a sense of excitement to keep you on the edge of your seat”

A large part of what makes McOnie’s production so engaging is the intimacy afforded to it through the jazz club setting meaning you are close enough to see the sweat and catch a wink from the ensemble. There’s also tongue-in-cheek humour employed in unexpected ways. An interlude after the entry to Dreamland and the Waltz of the Snowflakes sees two of the snowflakes, in sequins and ski goggles, re-enter the stage with gold foiled leaf blowers to clear the confetti snow to a muzak version of the previous piece. Those faint of heart beware the front row! The leaps and bounds of the performers will be a whiskers width from you, but do not fear – these dancers are so in tune with their bodies there will be no risk of a collision, only a sense of excitement to keep you on the edge of your seat.

It all comes together as a beautifully constructed and almost immersive production. Set and venue design by Soutra Gilmour and costume by Ryan Dawson Laight are a real mash up of eras and styles with orange and brown tones screaming 1970s, contrasting with the bubblegum brights and sequins of Dreamland. The combination gives a familiarity of the festive season whilst keeping it contemporary and in line with the themes of the piece.

Reinterpreting such an iconic piece may appear a daunting task, but McOnie’s clarity of vision and impeccable execution results in a production that is fun, fanciful, and doesn’t take itself too seriously, whilst still employing the highest standards of creativity and artistry. A jolly production to kick off the festive season.


NUTCRACKER at the Tuff Nutt Jazz Club 

Reviewed on 4th November 2023

by Amber Woodward

Photography by Mark Senior

 

 

 

 

Five star reviews from October:

 

Dear England | ★★★★★ | Prince Edward Theatre | October 2023
Elephant | ★★★★★ | Bush Theatre | October 2023
The Least We Could Do | ★★★★★ | Hope Theatre | October 2023
The Ocean At The End Of The Lane | ★★★★★ | Noël Coward Theatre | October 2023
This Is Not A Circus: 360 | ★★★★★ | Jacksons Lane | October 2023

Nutcracker

Nutcracker

Click here to read all our latest reviews

 

La Cage Aux Folles

La Cage Aux Folles

★★★★★

Regent’s Park Open Air Theatre

LA CAGE AUX FOLLES at Regent’s Park Open Air Theatre

★★★★★

La Cage Aux Folles

“Stephen Mear’s choreography dazzles and blinds you”

 

We live in an age where the word ‘gender’ can spark hot debate and a furious character count on people’s twitter (sorry – ‘x’) feed. Indeed, gender discourse has changed greatly since “La Cage Aux Folles” opened on Broadway four decades ago, at the time breaking many barriers by becoming the first Broadway musical centred on a same sex relationship. So much so that Tim Sheader’s current staging lays itself open to accusations of being dated. And yet, the production rebuffs all of that and rises way above it. There is no question of discussion, or of dissecting its relevance and resonance today. It is simply a celebration. One that is bursting with pure joy and spectacle – full of hope and other sentiments that belong to the human heart irrespective of the rhythm it beats to.

From the overture to the finale, we are drawn into the world of these larger-than-life characters. We are told from the off, by the deliciously diverse and garish troupe of ‘Cagelles’, that “what we are is an illusion”. Illusion or not, they are magical. As is every other aspect of this authentic, feel-good show that, deep down, honours old fashioned and revered values of loyalty, family, solidarity and acceptance. It is only in retrospect that this analysis becomes clear – at the time we are just swept along by the warm tide of music and dance.

Set in 1970s St Tropez, it is more ‘Prom, Prom, Prom!’ than French Riviera. Colin Richmond’s eye-catching set captures a fading grandeur that stands proud against the evening backdrop but when you get up close you see the peeling walls and mildew, reflecting the by-gone era and authenticity that refuses to be glossed over. Pan out again and Stephen Mear’s choreography dazzles and blinds you. The ensemble is ever present, watching from the wings; smoking, laughing, winking or yawning. But when they emerge and take centre stage their dance moves are fearless, faultless and simply stunning.

 

“The laughter and the pathos are continually battling to steal the limelight, but they end up in a glorious double act”

 

Jerry Herman’s score is at once recognisable and stylishly fresh. The intellect isn’t overburdened, but the passion and romance are loud and clear. As the first act closes, we almost feel like we have reached the grand finale as Albin (Carl Mullaney) delivers a searing, defiant and heartfelt “I Am What I Am”. Rejection has never been portrayed with such authenticity.

Albin’s partner Georges (Billy Carter) hosts the ‘Cage Aux Folles’ nightclub where Albin headlines as his alter ego ‘Zaza’. Along with George’s son Jean-Michel (Ben Culleton) from a brief dalliance with the now absent biological mother, they form the most unconventional conventional family unit imaginable; supplemented by in-house maid/butler Jacob (a show-stealing, mesmerising, gender-fluid Shakeel Kimotho). Loyalties are stretched to breaking point when Jean-Michel announces his engagement to Anne Dindon (Sophie Pourret). Her father is head of the ‘Tradition, Family and Morality Party’, whose goal is to shut down the local drag clubs, of which George’s is the flagship. Albin is persuaded to absent himself for the upcoming visit of Anne’s parents, the consequences of which inform the hilarious and farcical second act.

The laughter and the pathos are continually battling to steal the limelight, but they end up in a glorious double act. The chorus line moves as one, yet each member’s individuality shines through. Although the plotline is a touch on the thin side, it is fleshed out by Harvey Fierstein’s witty script and, of course, Herman’s music and lyrics. But what really brings the house down is the talent on display, the presentation, and the sheer flamboyance of the performances – all of whom deserve mention. There is no roof at the open-air theatre, but by curtain call there wouldn’t have been anyway: the standing ovation raises it way out of sight.

 


LA CAGE AUX FOLLES at Regent’s Park Open Air Theatre

Reviewed on 11th August 2023

by Jonathan Evans

Photography by Mark Senior


 

 

Previously reviewed at this venue:

 

Robin Hood: The Legend. Re-Written | ★★ | June 2023
Once On This Island | ★★★★ | May 2023
Legally Blonde | ★★★ | May 2022
Romeo and Juliet | ★★★½ | June 2021

La Cage Aux Folles

La Cage Aux Folles

Click here to read all our latest reviews