The Royal Ballet: Chroma/Multiverse/Carbon Life (November 19th, 2016)

The Royal Ballet

Chroma

Multiverse

Carbon Life

Nov. 19th, 2016

Rarely have I ever been so excited to see a ballet. And a contemporary ballet at that! I have to admit: I'm a bit of a classical ballet snob. I love a simple, romantic story with beautiful and clean choreography. I've pretty much always condemned contemporary as glorified writhing on the floor with a few pirouettes thrown in. Thankfully, the Royal Ballet's works have been doing a good deal to dispel this opinion. I don't think I'll ever really understand contemporary ballet (I don't even try to comprehend the 'stories' or inspiration behind the pieces), but I've gotten to the place where I can really appreciate the dancing, choreography, costuming, lights - I could go on. 

But back to the excitement; I decided to attend this ballet for one purpose: Olivia Cowley (aka my favourite ballet dancer ever) was dancing in the latter two pieces, and I'd seen a rehearsal video for Carbon Life shortly after I'd discovered her as a dancer, and it was part of the reason I'd wanted to see more of her dancing. A year plus later, she's my absolute favourite dancer, so I was beyond excited for tonight. Plus, I got to sit in the stalls with my best friend, which I've never gotten to do before (day seats are my usual thing). So yeah, excited. Very. I was literally bouncing in my seat before it started.  

I'm going to write about each ballet individually; any general notes will be dispersed throughout. There's no way I won't miss details, so apologies to anyone/anything I've left out! There was too much I loved to write about it all. Please keep in mind that I rarely read the introductory 'story' summaries, as I prefer to watch the piece and draw my own conclusions. This is also very delayed, as I had a dance show and teaching to do - of course what finally enabled me to have enough time to finish this review was an injury that's taken me out of dance for the foreseeable future. So hopefully I have not forgotten too much!

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Chroma

Chroma was the opening ballet of the night. Weird as this may sound, I actually don't have a lot to say about it. I liked Chroma, a lot, but there aren't too many particular details I felt the need to highlight. Probably what I liked most was the set; it was very open and airy, with lots of clean lines. I'm not sure what colour it was, because the lighting enabled the background to shift and change colours, while also creating or removing shadows that added a completely new dimension to each section of dance. It felt very much like being in a modern art gallery, and the dancers were the subject of a painting coming to life. I'm not sure if the costumes really added to that; some blended with the complexions of the dancers (Sarah Lamb's peach outfit) while others didn't (Luca Acri's - I believe - green costume). I guess it fit with the modern art theme in that it didn't make a lot of sense, and it didn't necessarily detract from the piece - it was just an odd little detail that I couldn't quite make sense of.

It was interesting having the combination of Alvin Ailey dancers with Royal Ballet dancers. There was certainly a huge difference in style; the AA dancers were more muscular, more dynamic, while the Royal dancers were slimmer, more flexible, and had cleaner technique. The latter also had a more lyrical quality to their movements, while the former was often quite jerky and abrupt. I'm not saying one or the other was better; they were just different. It was a bit awkward watching the trios or group numbers, as the AA dancers seemed more focus on individual performance rather than completing the group. It may have just been a lack of rehearsal time, but where two Royal dancers and an AA dancer were together; the AA dancer was a beat behind. Legs weren't at the same heights, arms weren't in the same places on lifts - it was the only moment when Chroma felt chaotic. As individuals, every single dancer was incredible. But the group dynamic was off, something I felt further rehearsal or a cast of dancers from a single company - or two more similar companies - would have resolved this problem.

Based on McGregor's choreography, he really likes using the flexibility of the dancers (and has a fondness for tilts and penches). It didn't really surprise me, as he seems to particularly enjoy working with dancers like Sarah Lamb and Olivia Cowley, known for their flexibility. This proved a problem for other dancers though (particularly the men); while clearly excellent technicians and very flexible from the average person's point of view, some of the dancers clearly struggled with the extreme amount of flexibility required, and this showed in the absence of 'ease' in the dance. Many of them have to make other adjustments in their body positions to achieve the desired effect, which, from my perspective as a dancer and gymnast, looked off. But on a more positive note, I adored the use of strength and classical technique - which all dancers have in abundance. The lifts were very cool and intricate, and
Another highlight of Chroma was the music. It was what really drew me in right off the bat, and made the oddness of the choreography (it's something I don't think I'll ever get over about contemporary dance) more palpable. I got definite Alice in Wonderland vibes off of it, which is a good thing as I loved that music. Considering both the music and choreography, my favourite duet of this piece was a very quiet, yet intense, lyrical duet about midway through. I unfortunately cannot remember the dancers involved (I believe it may have been Lauren Cuthbertson?), but it was a stunningly presented duet. 

A review of National Ballet of Canada's production of Chroma called it a "delirious frenzy of movement," a statement which I feel summarises the piece quite nicely. It has its calmer moments, but all in all, its a busy, but well-crafted, frenzy of dance and motion. I really, really enjoyed Chroma, and I'd definitely be looking to see it again. It was such an intricate piece, I'm sure I missed a lot of details. 

Multiverse

Multiverse was the newest piece of this triple bill, so new that when I bought my ticket a few weeks ago, it didn't even have a name. No new work is ever going to be perfect, even from an experienced choreographer like Wayne McGregor, and that was certainly the case here. I think the concept was interesting, and the backdrop was very cool, but in terms of visuals, I didn't really understand the costumes. The variance between pointe and soft shoes didn't make any sense, first of all. Also, the costumes seemed to be quite organic; stained, earthy colours, styled into leotards with looser skirts/tops. This contrasted confusingly with the very modern, technological background (Think Curious Incident, with less lighting) and techno-style music. Speaking of music, I wasn't overly fond (quite in contrast to Chroma); instead of complimenting or instigating the dancing, it proved an overloud distraction. I guess it went with the chaos of the dancing, but I found it very difficult to listen to, and it was giving me a bit of a headache. That, combined with trying to follow four different pieces of choreography at once just made the piece overwhelming and difficult to watch and enjoy.

Multiverse was the piece where I liked the choreography the least. It was too chaotic; there was too much going on at once, and brief moments of symmetry and unity were far too fleeting. I liked the steps themselves, I just didn't enjoy the chaos. You don't know where to look, so you end up missing almost everything because your eyes are darting all over the place. When Olivia Cowley was onstage, I watched whatever section she was doing, but otherwise, I sort of had to pick a dancer and watch only them (and their partners; I mostly watched Sarah Lamb, Lauren Cuthbertson, and Francesca Hayward), which meant I probably missed a lot of action. It was the only way I could actually process a small segment of what was happening onstage. I also didn't like the duet at the beginning; as far as I understand it, the two dancers were supposed to be following each other, so not perfectly in synch. However, because the second dancer was only a split second behind, it looked too much like he was just off time rather than this being a part of the choreography. I think that distinction needs to be more clearly made. That said, I can't fault the dancers at all. Every single performer clearly gave every ounce of energy to create as dynamic and exciting a piece as possible.

To me, this was a piece about contrast, especially in the world as we know it. The transitions between modern war (?) and historical (represented as a fractured painting on the screen), and the uneasiness of the dancing itself communicated that theme. However, the dancing itself was just too chaotic, and not balletic enough, for my liking. Overall, I felt that Multiverse was more of a performance art piece rather than a contemporary ballet, more at home performed in a gallery, not the Royal Opera House. 

Carbon Life

Carbon Life was the final piece of the evening, and might just have knocked Connectome out of the top spot for favourite contemporary ballet piece (which is odd as they're very different pieces). I got very cirque-du-soleil vibes from it; the music, the dance, the lighting, and the costuming all came together for that effect. It was a true performance. I really liked that the music and dance worked so seamlessly together; one could easily have overwhelmed the other, but McGregor skilfully weaved the two together to create a whole, such that you couldn't picture one without the other. Having the live band and singers proved quite useful; the piece had so many different tones and emotions involved, and having singers and musicians coming on and off stage worked well at communicating these transitions. I also liked the combination of vocal and instrumental music, it added a nice variety to the piece.

I really loved the choreography of Carbon Life; it was the perfect combination of classical steps and beautiful technique with a modern quality of movement. The turns and the legs and the arms were so clean and precise, but the body waves and rolls and general 'reckless abandon'-esque quality of movement gave it that more visceral, raw feel. It was a great combination. Speaking of combinations, I loved that synchronised tendu-port de bras thing that was going on in a large V and in the background of a duet for a while (confession time: I didn't realise there was a duet going on until my friend told me later. I was enjoying watching the synchronicity of the tend-ptb bit). I may or may not have stolen that combo and used a slowed-down version in my ballet class… Anyway, I don't have much else to say about the choreography other than that I loved it. It was just a wonderful, aesthetically pleasing combination of classical and contemporary.

Lighting, set design, and costuming/makeup of Carbon Life are definitely worth noting. Unfortunately, since I'm writing this so belatedly and don't have pictures to remind me, I can't actually remember why I liked the set. But I did like it! The lighting I do remember; it was dusky and 'smoky' and dark, but there was still enough light that you could actually see what was happening. It was kind of cool with the black costumes and smoky atmosphere at the end, you almost felt as if you were in this industrial coal mine or something. It was a very Silent Hill-esque vibe. I wasn't hugely fond of the makeup; yes it suited the them, but it aged the dancers, and the invisible eyebrows and lips thing make it so much harder for them to use their facial expressions. If you weren't front row, you missed a lot. I'll talk a bit more about the costuming below, but I liked the simplicity and uniformity of the costumes. I don't want to call them androgynous, but to a certain extent the men and women were dressed very similarly, such that it was only by body shape that you could tell them apart. The skimpiness of the opening costumes meant you could focus a lot more on the shapes and lines the dancers were creating with their bodies and the quality of movement rather than any loose bits wafting distracting (like in Multiverse).

As much as I loved the piece as a whole, the highlight for me was the duet between Olivia Cowley and Matthew Ball (covering for Edward Watson). It was fierce, dynamic yet fluid, and utterly captivating - you couldn't tear your eyes away even for a second. Olivia and Matthew have incredible chemistry, particularly considering this was a fairly recent partnership, due to Watson's injury. I saw a whole new dimension of Matthew, whom I'd previously only seen playing fairly youthful, innocent roles. He certainly showed his capacity to execute darker characters. I also thought he and Olivia had an excellent emotional and physical connection; apparently this duet was meant to be about a certain kind of love - my friend theorised it's about that dysfunctional, violent, yet passionate love, which made sense to me from the way the two dancers interacted. And then there's Olivia Cowley herself. Just everything about her performance was perfect. The effortless flexibility in her back and hips (her tilt gave me seriously flexibility envy) made everything she did look easy - which is, ultimately, the goal of most dance pieces. Although she's a technically stellar dancer, my favourite part about Olivia in this piece was her emotional expression. She makes all of her emotions and facial expressions big without overdoing it. Everything looks and feels so genuine, and because of this, I find it far easier to connect to her dancing. There's no disconnect between the steps and the acting, and she doesn't prioritise one over the other. It's a very rare skill to have (most of the dancers in this triple bill, as talented as they all are, were clearly focusing more on getting the steps and choreography rather than letting the audience feel the raw emotion), and I think it's what made her stand out so much onstage, and particularly in this duet. Although I've loved everything I've seen her dance so far, Carbon Life was certainly a standout (up there with Raven Girl and Afternoon of a Faun).

Although I loved Carbon Life to bits, there were things I just didn't get. The angular black costumes that appeared later in the ballet were a cool effect, but they left me confused as to the purpose, especially when most of them were removed for curtain call (for practical reasons, of course, but it didn't make sense to have a complete costume change for five seconds). Especially the men in the tutu and Lady Gaga-eqsue outfits. I just didn't get it, and it detracted from the conclusion of the ballet. I also thought the rap element of the music felt a bit out of place; the rhythmic beat was good for the dancing it accompanied, but the political notes of the song and ill-conceived Trump joke detracted. These are just a few small issues in an otherwise excellent performance, and Carbon Life really is one of my new favourite contemporary ballets. 

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Part of my enjoyment of triple bills comes from the variety of choreographers' work you can see; they're all so different that you don't get the chance to get bored or too used to anything. Because of this, I expected that seeing three works by the same choreographer in quick succession would be tiring and monotonous, but although McGregor has a definite style (all of the body rolls - I swear he's been watching AGG. And he seriously overuses the cat walks - not sure what the technical term for those are), each of the pieces was just different enough to maintain my interest. Whether it was loud and dynamic like Carbon Life, quietly brilliant like Chroma, or so confusing you were forced into intent focus, for Multiverse, everything kept your attention. I'd certainly be happy to see this triple bill again, and I look forward to seeing more of McGregor's work in the future. 

Vanities the Musical (September 10th, 2016)

Vanities 

The Musical

September 10th eve, 2016

(LoveTheatre.com)

The sad fact of the matter right now is that most of my favourite theatre performers haven’t been in a show for a while. The one that is, I’ve been somewhat obsessively stalking, and trying to see everything she in. So when I saw that Lizzy Connolly was going to be in a show called Vanities, I knew I was seeing it, no matter what it was about. With a three person cast, tiny theatre, and a fairly simple plot, I honestly wasn’t expecting too much. I figured since Lizzy was in it, it would at least be entertaining. But somehow, this little show was way more than I expected it to be.

Seat/Venue Review: I much prefer Studio 2 to Studio 1 at Trafalgar Studios. It’s an intimate yet comfortable venue (not a bad seat in the place, I think), with a nice bar area, friendly and helpful ushers, and very reasonably priced programmes. The seats are a bit dodgy as you have to share with a second person to get them to stay down properly, and front row has you right on the stage, but for £30, I’m not complaining.

Vanities tells the story of three Texas cheerleaders, checking in at four different points in their lives – senior year of high school, final semester of college, age 28, and middle age. Kathy, Joanne, and Mary start of as an inseparable group; different personalities but obsessed with the same goal: to be popular. As they age, we watch the three girls grow and change as life hands them situations they never could’ve prepared for.

The three stars couldn’t have been more perfectly cast. Lizzy Connolly as Joanne was every bit the traditional southern belle. Lauren Samuels as Mary was delightfully sarcastic, and Ashleigh Gray was calm and self-assured as Kathy. The characters were so well developed; they truly seemed like they’d been best friends since childhood. Every little nuance and interaction seemed completely natural. It’s something anyone with best friends (so, anyone at all) will recognize, and I think that’s an incredible achievement. The three characters so wonderfully reflected the time period, and how attitudes changed during this period – it felt like watching a documentary rather than a musical.

Lizzy Connolly (LoveTheatre.com)

Lizzy Connolly, as expected, was wonderfully entertaining. She just has the most perfect comedic timing; a recurring joke (about how Joanne would kill herself/slit her wrists/slit her throat/kill someone else) had the potential to be quite dark, but Lizzie just said it with the perfect tone (almost a drawl) and timing to make it funny. She also really played up Joanne’s ditziness and naiveté without making her seem entirely stupid. It made her character seem more real. Because Lizzie’s such a strong dancer, it gives her a great sense of how movement and posture can affect a character – to that end, she goes from very prim and upright in the first three acts, to a bit hunched over in the final act, showing how her character’s outlook on life has changed. Lizzy doesn’t need the costume or wig changes to accurately communicate her character. Her accent is also perfection; funny and exaggerated without being ridiculous. My favourite part was in Act III when Joanne gets very drunk on champagne and starts dancing around the apartment, basically going completely crazy and complaining about all that’s frustrating in her life – it was hilarious and refreshing to see the character completely let loose. All in all, an absolutely brilliant performance.

Lauren Samuels (LoveTheatre.com)

Lauren Samuels gave a very strong performance as Mary. Her character wasn’t likeable in the least bit; you felt a bit of sympathy for her, but at the end of the day, I was mostly shocked and disgusted by the things she’d done (like sleeping with Joanne’s husband). I’d love to know what led her to the things she did (surely it was more than just having such a stifled childhood and wanting to see the world), but nevertheless found her character intriguing. You could definitely see from the beginning that Mary was a bit bitter about her life, and that feeling grew and grew through the show. The character was delightfully sarcastic, and spent a good deal of time making fun of both Kathy and Joanne. She was more darkly humorous than Joanne though, which offered a nice contrast. In some ways, I thought Mary was the most fully fleshed-out character in terms of writing, and Lauren worked with that to produce an really intriguing performance.

Kathy was easily the most relatable character in the first two acts (for me, anyway, as a neurotic list-maker myself), and Ashleigh Gray, with her huge voice and sensitive, thoughtful acting, carried it off beautifully. I thought that she really captured Kathy’s need for an ‘organized life’ without making her unbearably fussy. Kathy was certainly the quieter presence onstage; the one always watching, listening, and taking in everything that was happening. That was probably Kathy’s downfall, she knew too much and cared too deeply that everything be in a certain way. Ashleigh’s accent was also incredible; she sounded just southern enough to be believable, then went to a very mild, almost Canadian accent for the second half. It made Kathy’s slight personality shift seem more complete. I also loved how she went from very peppy and bouncy (almost a bit twitchy) in Acts I and II, to very ‘still’, not moving unless she absolutely had to. Another great indicator of the transition the character had made.

Ashleigh Gray (LoveTheatre.com)

I really enjoyed the set; it was very cleverly designed so that everything the actors needed for the show was right in front of them. The set could be anything; a highschool locker room, a sorority house, a new york apartment, or a funeral home – it actually reminded me a lot of the off-broadway production of Heathers. Definitely a ‘less is more’ approach. Also, the set was pink, and we all know how I feel about anything pink. The changes between scene had the potential to be awkward and shuffly, but were executed smoothly. I liked that the three actresses went into a sort of ‘trance’; they weren’t really themselves, and it helped to communicate the passing of time. The lights were kept up (though dim) and the music continued  playing (the same tune for every scene shift), which was better than if they tried to hide the transitions completely. It wouldn’t’ve worked in that small a theatre. The ‘Mirror Song’ (Mystery I-IV) was used to illustrate how their lives have changed based on which makeup products they were using. It also helped maintain some consistency through the show.

The costumes were also really nice, and suited each character perfectly. A number of the pieces looked vintage (some were nearly falling apart, like Lizzie’s act I and II shoes), but everything fit the actresses and matched the time period. The onstage change into the cheerleader uniform was a bit dodgy (I honestly wasn’t sure if they’d all get their sweaters buttoned up in time, and they kept having to do one or two up slyly during the following scene), but the outfits themselves were adorable. I really want one of those skirts; they were so cute! (yes, I’d totally wear it to school. In freezing cold Scotland. Don’t judge!)

Connolly, Gray, and Samuels (LoveTheatre.com)

The only things I really disliked about show was that sometimes the direction had the actors walking up the stairs into the audience – they always had to push through legs and be wary of bags. It seemed unnecessary and impractical. I also felt that there was something missing with Kathy’s character. We never really find out what happened with her other than that she had a nervous breakdown. She clearly was the point of connection for the group for their entire lives (Mary and Joanne kept in touch with her when they weren’t speaking to each other) and she’s the one who brings them together for the ‘tea party’. But I didn’t understand why. And how she ended up in the situation she did; there was a bit about her being laughed at for being enthusiastic, then becoming to neurotic, but that doesn’t lead to a complete personality shift… (speaking from experience). I found Kathy very relatable and fleshed-out in the beginning, but by the end of the show, I was just confused. Kathy just felt incomplete; however, I think that was a writing error rather than anything Ashleigh did with her portrayal.

I don’t usually do the stars thing, but if I had to, I’d give this production 4.9/5. Vanities will make you need to gather up all of your friends and give them a big hug (and make them promise never to sleep with your future husband). It’s heartwarming, shocking, cleverly executed, and just a great evening out. The performances are astounding (so much talent in such a tiny theatre). I highly recommend seeing this production; it’s playing at Trafalgar Studios 2 until October 1. Tickets here: http://www.atgtickets.com/shows/vanities-the-musical/trafalgar-studios/

The Phantom of the Opera (September 9th, 2016)

The Phantom of the Opera

September 9th, 2016

I promised a lot of people a review of Ben, and others a review of Harriet once I saw her, so…. Killing two birds with one stone here! Because last time I saw Ben, I had to write an essay on him, and didn’t feel like doing another review on top of that. In this case though, the show and performances were so incredible that I’m sat writing this all down at 2am so I won’t forget it. I've done enough seat and venue reviews for this show, so I'm just launching right into the review.

I have to start with Harriet because… well… she’s Harriet. My most seen Christine, and one of my special favourites for a myriad of reasons. I was so, so delighted when she announced she was coming back, and by sheer luck (don’t ask!) managed to make it to a show in her first week back.

When you see Harriet as Christine, you’re always guaranteed a good show. I always think of her as the ‘cleanest’ Christine (like how a gymnast can have a ‘clean’ – i.e. mistake-free – routine; that’s where I get it from anyway). So I knew walking in she was going to be good, because she always is. After a year off, though, you expect a few bumps and inconsistencies. But I was completely and utterly blown away (and reduced to tears within minutes) by how ridiculously brilliant she’s become. Her acting is just phenomenal. From the moment she stepped onstage; she just was Christine (also her dancing has improved and her arabesques look beautiful). When she was sitting with Meg on the floor in Hannibal, and Raoul was mentioned, she looked down, away from the others, in complete shock and disbelief. And when Meg volunteered Christine for Carlotta’s place, I actually thought Harriet/Christine might start crying. She looked so distressed and uncomfortable. I love how shakily she starts out singing, like she really, really doesn’t want to be there. But watching the sheer joy overwhelm her as she realizes that she can sing is just beautiful to watch. Joyful is always the word I use to describe Harriet’s TOM, but there was something extra special about it tonight (and thus, my tears began, and never stopped).

Harriet Jones (Her Twitter)

In Angel of Music, Harriet and Daisy were very cute together; I loved how giggly they were with each other, and Christine really seemed to want to confide in Meg, but just couldn’t, and Meg could sense this. It was a really nice little scene. I’m honestly not sure how to accurately describe what Harriet’s acting was like in the AOM with Raoul bit, but it was very effective. She clearly remembered him well, and loved him from the get-go, but maintained her cautious distance so as not to anger her ‘angel’. When she mentioned this ‘angel’, she became instantly uneasy; her entire body language changed. I think what I really loved was how scared Harriet’s Christine was of the Phantom, essentially through the whole show. She was outright terrified of him, even before she went to the lair. And with Ben’s downright lunatic Phantom, it worked. So that any mention of this angel made her uncomfortable was a nice touch, and I loved the consistency. She was definitely never in love with the Phantom.

Great acting in title song boat ride; loved the sense of wonder and astonishment, but also fear and confusion rather than just halfheartedly looking around. She had no idea what she was walking (well, riding) into (and clearly wasn’t sure if she really wanted to be there), and that showed in her face and body language. Music of the Night was another good one for Harriet; she didn’t seem to go totally into a trance, but was looking around and exploring and trying to figure out what the heck was happening. Especially when the Phantom was feeling up her hair. The look on Harriet’s face was priceless.

Rest of first act was great, Harriet’s very cheeky and sly as Serafimo. She’s very ‘old school’ in a way; less static and bland than recent Christines have been in this scene. She was the last Christine to be an entertaining Serafimo, so I’m glad she’s held onto that. I really enjoyed the moment when Raoul was trying to tell Christine that there was no Phantom, she looked absolutely disgusted with him, recoiled while shoving him away, and practically spat, “Raoul, I’ve been there!” She was furious with him, and I think it makes AIAOY make more sense – he needs to regain her trust, she needs him to promise to protect and love her. And I love, love, LOVE what Harriet does when Raoul kneels for what I call “the proposal” bit of the song; she watches him in shock for a moment, then kneels down to be level to him for the rest of the phrase, before pulling him up. It’s such a nice touch, and a really beautiful moment between the two characters.

Act two! Otherwise known as the emotional thunderstorm of feels. Yes, that’s its official name.

Harriet Jones (Tumblr)

Harriet’s always lovely in Masquerade. She’s the only one with the complexion and wig colour to pull off the ‘Retina Burner’ dress. It might have helped her if she spotted the chaine turns in the dancing bit, she looked a bit dizzy after them. Loved how attached she was to Raoul and how focused her attention was on him. I don’t love the weird new choreography (“To the left! Take it back now y’all!” was literally all I could think of during it), but Harriet’s very elegant, so she made it look good, something a number of the actors (i.e. non-dancers) didn’t seem quite able to do.

Notes II was really good; loved Harriet’s ferocity here. She was so completely fed up with the way everyone was treating her and walking all over her. It was great to see her get in Carlotta’s face and release some of that frustration. Her “How dare you!” was piercing. From that point, Harriet’s Christine got more and more hysterical, until she was a sobbing mess, running off the stage in a flurry of skirts, with a barely intelligible, “I can’t!” And when she comes into the rehearsal scene, she looks incredibly uncomfortable, as if she’s being forced rather than showed up of her own free will. It makes you wonder what happened between those two scenes. Also, Harriet has these huge eyes that, when the light hits them just right, look absolutely haunting – like they’re staring into your soul. When the piano started playing on its own, she looked out into the audience with those terrifying eyes, and you just sensed the utter horror in Christine’s mind. And that was how the end of the rehearsal and start of Wishing made me cry like an infant.

I’d always considered Wishing to be Harriet’s weakness – yeah, not so much after today. I don’t think this girl has a weakness anymore. Her ‘Wishing’ was so beautifully acted – heartrending and raw without being overdone or feeling too act-y (and she’s axed the fake crying). You can feel the passion in her voice so much more than a year ago. It was a truly beautiful, yet heartbreaking, thing to witness. But I liked the sheer amount of growth Harriet put across in just one song; she went from scared child, to confident grown woman in three minutes. I also loved her strut away at the end, fists clenched, head held high. It’s so different from Lisa’s defeated demeanor at the end of the song. Harriet’s Christine has gained confidence and resolve, and has finished the song a stronger person than when she started. Yet the Phantom can so easily break in and invade her consciousness once again. It really gives you an idea of the power he has over Christine. Now, what was really interesting was when the Phantom waltzed back in and took over her mind again, Harriet went very happy. As in, all smiles and bounciness. I liked it, but I didn’t understand it. I’d love to hear Harriet’s take on that moment, and why she chose to play it that way, but my guess is it’s part of the ‘hypnotic’ state the Phantom keeps Christine in, and rather than going robot, she goes happy? I’m not sure really. Liked it, but didn’t get it.

Harriet Jones (Tumblr)

PONR was great, as usual. Harriet really fought Ben (like, really, really. I though he might snap her wrist), and I love her attention to detail and how spontaneous she can make everything feel. It was like watching a fresh show; I knew what was going to happen, but she kept surprising me with the when. I loved it. But the new apron on her costume is awful. I love that even though the Phantom had such a tight grip on her, she positively wrenched her arms away with so much force that I think it shocked him a bit. I think what worried the Phantom in this scene is that he didn’t expect Christine to fight back. It was interesting because, for a second, they swapped roles. Christine was in control, and the Phantom was the one scared and confused. The pattern is too big, the shape is wrong, and it doesn’t move with the rest of the dress the way the fringed apron does. Bad move, costume department. I also don’t really like when Christine’s manhandle the skirt; just let it swish! It’s so pretty that way.

The Final Lair was… wow. I couldn’t see a lot of it through my tears (all Harriet’s fault), but what I saw was quite something. In general, Harriet’s levelheadedness (that sounds a bit odd, but everything Christine says and does in that scene seems very logical, so Christine always comes off as levelheaded, even when she’s hysterical) was a good contrast to Ben’s schizophrenic Phantom. Actually the two of them were a nice balance throughout. Neither over or underwhelmed the other. Harriet was absolutely ferocious, she LEPT in between the Phantom and Raoul; even after being manhandled by the Phantom, she wasn’t deterred from defending herself and Raoul. She literally spit out “tears of hate” and, “you deceived me;” it was a flurry of sheer anger and fire. At the very, very end, when she was giving the ring back, the Phantom didn’t want to take it. But she held his hand, opened it, placed the ring in it, and closed his hand with both of hers. It was a small moment of genuine compassion that the Phantom desperately needed.

Harriet Jones (Tumblr)

If I could summarise Harriet’s portrayal of Christine briefly, there’s an overall sense of her having been thrown into a situation she doesn’t like and doesn’t think is fair. It’s a very headstrong portrayal; Christine is clearly her own person, and isn’t willing to bend to the instructions of others unless absolutely necessary. I think that’s why she demonstrated having such a hard time letting go of her father, and why she was so angry at and afraid of the Phantom. For her, the kiss at the end of the final lair was the ultimate sacrifice, because she didn’t want to do it. It took a lot for her to let go of that control she so badly craved. She didn’t love the Phantom, and that was clear from the beginning. But she put Raoul before herself, and I think that showed a tremendous amount of growth and maturity in her portrayal. It was a simple concept, that required very thoughtful, detailed acting to pull off, and Harriet did an absolutely exquisite job. Brava!

On a non-acting note, I don’t think I really appreciated before how natural Harriet’s voice is. In my head, I always think of her as having this huge, spectacular voice, and she does, but when she sings, it doesn’t seem like she’s forcing it. I’m not sure if that makes sense, but it’s as if she was just born to sing Christine’s part. It really does make a big difference; you don’t get distracted watching her try to push the notes out or try to be really showy with her voice. She just sings it, and you can sit back and appreciate the rest of her portrayal, complemented by her gorgeous, effortless voice. I also love how distinct her voice is; it’s not just your standard soprano la-di-da, and she has her own unique tone and sound without sounding too weird (a la Sierra Boggess and her bizarre vowels). You can tell it’s her, without actually having to see her. Anyway, Harriet’s voice is perfection, and we all know that.  

I have to say, I was a bit surprised to see Harriet back so quickly (I was hoping she might go do Glinda or Johanna, then come back to Phantom), but I was so, so thrilled with her performance. She was, essentially, flawless. And so, so natural. I thought back to the first time I saw her, November 2^nd 2013 (nearly three years ago), when she was this small, ridiculously pretty Christine with the big voice and oodles of potential. Watching her entire journey as Christine, and seeing how she developed and changed as a performer, has been an absolute joy, and I am so excited to continue watching her in the year ahead (I really, really hope she’s staying all year!). Here’s to seeing Harriet’s Christine another 25.5 times!

Ben Forster (Phantom Website)

Ben Forster’s Phantom is certainly something. As I tweeted, it’s the weirdest thing I’ve ever seen on a stage. You’re either going to love it or hate it; I was very unsure the first time I saw him, but this time I absolutely loved what he’d done with the part. It was so unique; Ben’s portrayal is the only time I’ve seen a Phantom that was completely and utterly psychotic. He had no humanity or rationality; there was no ‘misunderstood exile who just wants to be loved,’ the Phantom clearly blames his solitary living on his deformity, but in reality it’s probably because he’s a complete psychopath. Ben described it as a schizophrenic, and he absolutely hit the nail on the head with that description. The other words I would’ve used are creepy and disturbed. 

Just a few notable things that I’d like to mention; Ben’s music of the night is downright terrifying. He’s in Harriet’s face, feeling her up, twitching and smiling off into the distance – at one point he caught my eye, saw me looking horrified, and gave this malicious smile. Thanks for the nightmares, Ben. It was as if he’d waited for this moment for so long, and he was just all over Christine. But it wasn’t sexual; it was more possessive, convincing himself that she was his. Then when you get to PONR, their next direct interaction of any length (Masquerade barely counts), it’s driving him crazy that he can’t hold onto her in that way. His hands are constantly twitching and grasping at other things. And even in the mirror during Angel of Music, when Christine starts singing to him, Ben smiles darkly like he’s saying, “Yes. She’s mine.” Something else I noticed the first time I saw him last March is that he has a very snake like quality, in that he never really stops moving, as well as investigating his surroundings looking for threats. This is most evident in Stranger Than You Dreamt It, when Ben positively slithers across the floor towards Christine. It’s like watching a cobra waiting to strike. Beautiful yet terrifying.

There’s not a whole lot else for me to write about, but that doesn’t mean I didn’t like him. I did, it’s just that I liked the portrayal as a whole rather than any particulars. And as others have said, Ben doesn’t have the strongest voice. The notes aren’t as pure or as clear as one might expect (especially during MOTN and anything that began with an I), but I think Ben really manages to work with that. He goes for a raspier, sharper tone that is completely in line with the rest of his unhinged portrayal (that said, his belt on, “It’s over now, the music of the night!” is scarily impressive). Ben made his deficiencies work, and I commend him for that. It’s a tricky thing to do. Moreover, he clearly puts every ounce of energy he has into maintaining the consistency of his character, which has to be absolutely exhausting given how frenetic his Phantom is, both in body and mind.

Ben has definitely become an unexpected favourite of mine, and I certainly look forward to seeing him in the role again. He’s really made the role his own, and clearly spent a lot of time creating a unique take on the Phantom that others would’ve found too risky.

Nadim Naaman (Tumblr)

I’ve already written about Nadim extensively, but something small that I like that he’s now doing is when the Christines say, “You’ll guard me and you’ll guide me?” in All I Ask of You, he nods and says, “Yes!” or “Of course!” It’s adorable. I also love him and Harriet together; they play off of each other wonderfully. As well, I loved that when Nadim was pushing the boat out of the lair, and Ben was looking longingly through the gate, the two made eye contact for a moment, before Nadim turned back to Christine. I would love to know what was going on in each of their heads at that moment; it was a small but really cool detail. I think it’s either Raoul’s promise to look after Christine, or a somewhat possessive, “She’s mine now.” Christine doesn’t see any of this; I think it’s particularly poignant that she never looks back at the Phantom.

Grace Horne
(Tumblr)

Wasn’t a fan of Paul Morrissey’s Piangi; it was boring and uninspiring. I honestly barely noticed him in the show. He just wasn’t reacting to anything. Jacinta was great as Mme Giry, as was Megan as Carlotta (nothing new there). Phillip Griffiths as Andre was alright. He seemed a bit tired; Andre is usually quite energetic, providing a foil to Firmin. I missed that in his performance. Sion Lloyd was ok as Firmin; I expected a bit more from him in terms of characterization given his performance in Titanic, but maybe it’ll come with time. Daisy Hulbert has improved significantly. Her singing voice isn’t strong, but at least she’s in tune most of the time now. I found her face in Hannibal distracting; she was making this scrunched up, “I’ve smelt something bad” face that made absolutely no sense. Her acting, though often very over the top, has improved. She and Harriet are very cute in the Dressing Room scene; the handholding and giggling is really adorable. They truly seemed like close friends, and I loved that Daisy’s Meg showed genuine concern for Christine’s wellbeing. Not the worst Meg every, but certainly on the overly perky side.

Lori Gilchrist
(Phantom Website)

On the Ballet Girl front, I am still loving Grace Horne (she’s only getting better and better). Her acting has really gotten good; the part in Il Muto where she has to fall out of a pirouette and gasp because she’s seen the Phantom’s shadow is flawlessly executed. I don’t know what her singing voice sounds like, but I’d love to see her have a go at Meg in the future. And I really loved one of the new BGs, Lori Gilchrist. You can tell she’s incredibly experienced (check out her bio on the Phantom website; she's literally done everything); her arms are absolutely divine and she is so ridiculously elegant. I would love her not to make the scared/worried face the whole show, but that’ll come with time. She’s just a gorgeous dancer with stunning technique; it’s a shame she’s the monkey as I think her talents would be better suited to the butterfly or triton, but she makes the most of it with beautiful extensions and uses the opportunity to show off her crisp technique. The other new BG, Morven Douglas is alright. She looks a lot like Danielle actually, and is even thinner than Danielle. I was too busy watching Lori and Grace to really get a good look at her though.

So… that’s that! It was such an incredible performance and I enjoyed every second of it (even when I was bawling!). Harriet is flawless, Ben is so different and exciting – it’s just a great cast right now. I cannot wait to return! (And shout out to the new conductor who nearly hit me with a baton – hazards of the front row! Loved his enthusiasm for the piece though, it was such fun to watch).

The wonderful cast of Phantom!