FringeReview UK 2018
Overall though, it’s those songs.
Nikolas Balfe gives the performance of his life so far.
This is a blast of the purest kind. You have to see it. In terms of talent on display worked to a supreme ensemble pitch, this is quite simply the most stunning pure musical I’ve seen this year.
There’s a fitting heart-warming climax to a dream of production. And a surprise to those who think they know the film.
It’s Joanne Clifton’s night. She lives Alex, dangerously pushing every routine with an extravagance, a hunger, sexiness and raw power that makes it one of the most memorable dance performances in a musical I’ve ever seen.
Wow drama, the original Greek tragoidia. It invokes the same powers, almost the same gods.
This is an outstanding first-class revival, but more, it’s intimate knowing and innocent at the same time: it sports a residual wisdom beyond its brief.
You’ll have to see this if you care for music theatre at all. it’s unmissable.
You must see this. Apart from the heroic production itself, if there’s one outstanding performer it has to be Lucie Jones with Rita Simons’ superb support. Jones' voice is stunning, stratospheric, above all characterful.
Highly Recommended for monkeys and lemurs of all ages – quite apart from lions, zebras, hippos and giraffes.
Like the recent Suppliants, in a very different way, Medea Electronica asks just what we mean by Greek tragedy, what our conceptions of drama without music are. An essential experience.
The Rocky Horror to see.
Don’t miss it.
Son of a Preacher man has real potential. It’s easily more than a cut above a jukebox musical, and Revel-Horwood’s work particularly coupled with Herbert’s musical arrangements is exemplary. As is the marvellous and marvellously hard-working ensemble.
Stunning Ray Quinn and ensemble work their bobby-socks off with notable support from Rob Wicks and his band. Give No. 9 a proper MOT and it’ll strike gold too.