GISELLE: REMIX - REVIEW - PLEASANCE THEATRE

Experimental, queer, and bold. Returning from its run at the Royal Opera House, the Pleasance Theatre feels like the perfect place for a show that combines the narrative and movement of classical ballet with lipsyncs, cabaret, and the multifaceted world of queer culture. Whilst not very comfortable at times clustered around tables in the space, it demonstrates the social, interactive aspect of the show even before anyone steps on stage.

In the original story of Giselle, our lead falls in love with a man who turns out not to be who he says he is. Driven to breaking point by this heartbreak, Giselle dies before being reanimated as a spirit and joining a group of vengeful spirits. In this remix, Giselle, played by Jack Sears (also co-creator), goes on a challenging journey of self-discovery as they realise that the world is not like the romantic comedies they grew up with.

Giselle: Remix opens with ‘Guest Star Performer’, Kit Green, lipsyncing to Stormy Weather (Judy Garland). Green’s style is playful and whimsical, inviting the audience into a ridiculous and stylish demonstration of excellent lipsyncing, a truly charismatic start.

When we meet Giselle (Sears), they are a hopeless romantic floating in a tulle baby doll dress, by Costume Designer Laura Rose Moran-Morris and Costume Maker Rosie Whiting. Accompanied by the dance troupe (Harri Eiffert, Elle Fierce, Spike King, and Marie Astrid Mence), Sears embodies Giselle’s naivety with their physicality and flawless lipsyncing.

The dance troupe demonstrates the beauty and mesmerising nature of ballet, while breaking out of the structure and ‘seriousness’ that one might expect from classical ballet. The standouts in the troupe are Elle Fierce and Harri Eiffert, who often appear in a pair. They manipulate their bodies beautifully and embrace the variety of dance styles, moving between them so smoothly. Fierce particularly displays such physical flexibility and oozes seduction.

The most effective parts of Giselle: Remix are the ensemble moments with Sears surrounded by the dancers, as they play out moments in Giselle’s life via Hannah Grennell’s choreography. The fact that the choreography is built in collaboration with Sears and the dancers, feels very apparent throughout the piece.

Moments when the cast is physically connected and moving as one, are visceral and successful. Unfortunately, it is often unclear when the dancers are meant to be synchronised and when they are in canon or completely disparate. The differing ways in which each dancer embraces the choreography speak to their diverse backgrounds and dance styles but also feels incongruent at times.

Ultimately, we do not see enough of the dancers together. As Giselle explores the Queer club scene (the costumes changing to emulate this space), there are long points where Sears is lipsyncing or pulsing on stage to music alone. Whilst effective at times, these moments feel too long and the dancers come and go from the stage to aid in costume changes.

Aside from some short (and fabulous) balletic/contemporary moments, this show feels so far from Giselle that it could be a story of its own. The connection to the ballet is tenuous. The commitment to the movement and storytelling throughout is wonderful and the message of liberation and queer joy is clear when Kit Green returns at the end for a rousing lipsync duet to support Giselle in their discovery of themselves. Such powerful intentions, lacking in impactful execution.

{🎟 AD: PR Invite – Tickets gifted in exchange for an honest review}

DAVID HOYLE: STILL GOT IT…? – REVIEW – AVIVA STUDIOS
by Jennifer Roberts
Still Got It is the culmination of David Hoyle’s three weekresidency at Aviva Studios, where friends old and new are brought together for a celebration of avant-garde performance art and old school drag. With guest performances from dance troupe the Glitterbomb Dancers and drag queen Veda Lady, Still Got It is a celebration of David Hoyle’s life, his work, and us – who still have it. The Aviva Studios’ main stage boasts an impressive 1600-person capacity, the size of the stage at times proved to be a challenge for some performers, who are clearly more used to small stages. Hoyle’s own performance was by far the strongest part … More DAVID HOYLE: STILL GOT IT…? – REVIEW – AVIVA STUDIOS
PIPPIN IN CONCERT – REVIEW – THEATRE ROYAL DRURY LANE
by Amy Rye
Pippin premiered on Broadway in 1972 and in the West End the following year. With music and lyrics by Stephen Schwartz, and a book by Roger O. Hirson, the musical tells the story of Pippin, heir to the throne, as he embarks on a quest to find himself. Now back in London for two nights only, in a concert production directed by Jonathan O’Boyle, which celebrates the show’s 50th anniversary – with an all-star cast. There have been a lot of musical theatre concert productions recently, however this might just be the best one yet. Played with a full orchestra, and a full choir, this joyous score is brought to life … More PIPPIN IN CONCERT – REVIEW – THEATRE ROYAL DRURY LANE
RAGE ROOM – REVIEW – TRAVERSE THEATRE
by Ella Catherall
This review contains spoilers for the show’s ending. I would usually work around this when reviewing, but it is unfortunately key to the discussion of the show and its flaws. Going to script-in-hand presentations of plays in early stages of development can be a really rewarding experience. Sometimes you get to see a show that, although rough around the edges, is clearly going to become something really special. However, it can mean seeing a show that really does need a lot of development and this was unfortunately the case with Rage Room, a new play by Mhairi Quinn presented as … More RAGE ROOM – REVIEW – TRAVERSE THEATRE
INTERVIEW – LUCIE JONES
by Ellie Preston
Ellie chats to Lucie Jones ahead of her solo concerts at Cadogan Hall this May. Firstly, how are you feeling ahead of your solo concerts at Cadogan Hall this May? I am so excited for these gigs! It feels like I haven’t done a solo show for ages and I have loved choosing my set list and getting creative with it. It’s so fun, building a set around your favourite songs. How did you choose the line up of songs for this concert? I have a very long playlist of songs that I would love to sing at some point, … More INTERVIEW – LUCIE JONES
TWO STRANGERS (CARRY A CAKE ACROSS NEW YORK) – REVIEW – CRITERION THEATRE
by Jordan Hayter
What happens when two strangers, both lacking something in life, carry a cake across New York? If this production is anything to go by, there is one simple answer – MAGIC! This gorgeous production, originally performed at the Kiln Theatre last December, places the audience in the heart of New York, ‘the city of dreams’. It follows the chaotic 48 hours of Robin and Dougal, two strangers whose stories are connected by a wedding, as they do various tasks for the bride. The story, written by Jim Barne and Kit Buchan, is exquisitely done, both parodying and celebrating romantic comedies and films set … More TWO STRANGERS (CARRY A CAKE ACROSS NEW YORK) – REVIEW – CRITERION THEATRE