FISHERMAN’S FRIENDS: THE MUSICAL - REVIEW

Based on the true story of the chart-hitting sensation, Fisherman Friends: The Musical shows the journey of how an unlikely group of Cornish fishermen go from singing shanties in their local pub to ending up on the Pyramid Stage at Glastonbury.

The show centred around a group of fishermen, their families, and friends in this realistic story of individual struggles, as well as portraying what a community endures together. Their world suddenly changes when music management hot-shot Danny (played by Jason Langley) from London offers them a once-in-a-lifetime deal.

As soon as the curtain raised on Act One, there were audible gasps as we were transported to Cornwall’s tumbling sea with a shanty sung from a boat, ropes tugging from each angle, as lights flickered and fog engulfed the floor. Creating the conditions of the sea, which contrasts the calmness in the words sung. Swiftly transitioning to the pub where everyone is dancing, musicians are on stage, and a jolly atmosphere fills the air, immediately transporting us to the Port Isaac village family.

Sea shanties in themselves are a unique experience, and I feel I equally would have enjoyed this alone without all the high-end production value and story. These traditional folk songs tell a story within themselves and listening to the words holds so much value in a historical repertoire.

The lighting design by Johanna Town stood out, transporting us to many various locations with the need for minimal set changes. A specific element I found clever was the use of buoys lighting up in various colours, combining the coastal equipment into a visually impressive display. Continually the lighting added an incomprehensible coldness of sea air to the visuals which is appealing in its ease of simplicity.

In terms of vocals, Parisa Shahmirs playing Alwyn was ethereal in the way they pierced the silence, which was impeccable in the moments with little accompaniment, allowing the pureness of her undeniable talent to be displayed.

Although all the sub-stories are easy to follow, the pace seems to drags within the breaks of upbeat, high-energy choreography when the shanties are present, any long absence without them feels slightly too mundane, although there were some touching moments incorporated. The overall length of the piece certainly felt longer than it needed to be.

It’s refreshing to see a show which is authentic in its realism, with the infectious on-stage chemistry and laughter which is heartwarming to all in the audience. A musical with the community at the heart of it, highlighting the importance of togetherness, which is very much relevant, especially after the last few years. If you are looking for an easy-going, feel-good voyage which transports you to the small village of Port Isaac, then I couldn’t recommend this show enough. Playing now at the iconic Richmond theatre until 4th March, before continuing the rest of its UK tour.

{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}

A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
by Amy Rye
The infamous Sh!t Faced Showtime are back in London with a festive edition, they have taken Dickens’ classic and put a drunken spin on it. The formula is the same as other iterations of the Shi!t Faced shows, one member of the cast has been boozing, and this time it is John Milton who plays Scrooge. Before the show, half a bottle of Jim Beam, some wine, and beer have been consumed in the previous 4 hours. The rest of the cast, try to keep the show on track, also aided by James Murfitt as the compere, Charles Dickens. The … More A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
by Ellie Preston
Spine-tingling yet heart-warming, Mark Gatiss’s retelling of A Christmas Carol truly encapsulates the haunting atmosphere of a Victorian ghost story, balanced out with enough humour so as to capture the festive season. Led by Keith Allen as Scrooge, with Peter Forbes as Marley, this show is perfect for Christmas viewing. The set design by Paul Wills is instantly captivating, containing stacks of metal cabinets towering over the theatre, moveable by the cast to allow space for other central props like doors, beds and tables. In addition to this, the puppetry design by Matthew Forbes is incredibly clever, adding creepy elements to the show such … More A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
by Tom Carrao
The title of this winner of Theatre 503’s 2023 International Playwriting Award by Roxy Cook may seem like the set-up to a joke, but the narrative that unspools is instead an affectionate, gently barbed and at base quite sobering portrait of three ordinary souls (and one restless feline) adrift in modern Moscow. There is much affable, satirical back-and-forth commentary on the accepted myths & stereotypes of the Russian spirit & soul. Beset by the indignities of age, opportunism, graft, fatigue, the characters orbit one another, doomed to play out their roles in an unjust, predatory and saturnine universe. The play opens … More A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
by Amy Rye
Peter Pan Goes Wrong first premiered in London at the Pleasance Theatre in 2013, and earlier this year the show made its Broadway debut. Now the production is back in the West End for the Christmas season. Following on from The Play That Goes Wrong, in this production, J.M. Barrie’s Peter Pan is staged by the fictitious Cornley Polytechnic Drama Society and goes awry, disastrously so. The meta-comedy is filled with slapstick comedy, sometimes the humour may be predictable and silly, but it’s universally funny throughout – there is something for everyone here, and the laughs come thick and fast … More PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE
by George Rennie
Drawing heavily from the classic canon of the British supernatural, HighTide’s trio of contemporary Gothic narratives uses traditional storytelling formats to address contemporary themes. Directed by Elayce Ismail, reverent musical interludes accompany tales of apparitions and nighttime conjurings that speak of women from the East of England. Unfortunately, the effect is less chilling and more lightweight, with conventional structures, predictable plot twists and an over-reliance on external forces to drive narrative shoring up some of the less relatable aspects of the genre. Nicola Werenowska’s The Beach House, perhaps the cleanest of the three tales, tells of a mother and daughter’s … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE