REVIEW - FROM HERE TO ETERNITY - CHARING CROSS THEATRE -

From Here to Eternity had its world premiere at the Shaftesbury Theatre in 2013. The show received mixed reviews from critics and ran for just 6 and a half months. This production is the first revival of the show since its premiere. The show is currently on at the Charing Cross Theatre. For full disclosure, I have not seen the original production so am unable to compare – this review is of the new production on its own.

Based on the uncensored version of the1951 novel by James Jones, this production centres around men in the US Army in 1941. Focusing on two affairs in particular. Private Prewitt (Jonathon Bentley) falls in love with sex worker, Lorene (Desmonda Cathabel). And Sergeant Warden (Adam Rhys-Charles) is having an affair with his Captain’s wife, Karen (Carley Stenson).

Stewart J. Charlesworth’s set is mirrored on both sides, meaning both sections of the auditorium have an identical view of the staging. It’s also full of tricks, there’s hidden ladder rungs, and one of the pillars opens to become a bar. Palm trees stand in the auditorium, transporting the audience to the exotic Hawaiian location which the musical is set in. Dates are projected onto the upper frame of the staging, giving the audience a sinister countdown to the date that we all know is coming – Sunday, December 7th, 1941.

Other video projections are utilised, to varying degrees of success. At times I was unsure what the projections were supposed to be, and at other times they worked seamlessly, with harmonious cohesion from the sound and lighting design, portraying the beach among other locations.

Bentley’s performance is the one that steals this show, filled with emotion, he ensures the audience connects with Prewitt, making his ultimate scenes all the more gut wrenching. The chemistry between Bentley and Cathabel is undeniable and makes their relationship believable. Their voices fit together perfectly, and create some exceptionally beautiful harmonies. I feel that because we discover more about Prewitt throughout the show, this makes our emotional connection stronger to this character. Compared to Warden who apart from his affair we know next to nothing about, it’s therefore difficult to connect with him.

Another standout performance comes from Jonny Amies as Maggio, who brings a charisma to his performance, which is endearing.

This musical’s score is by Stuart Brayson with lyrics by the incomparable Tim Rice. Rice’s musical theatre back catalogue is comprehensive, and whilst his work here is great – it’s definitely not the best work of his career either.

Musically, the entire cast are strong. But there is one moment in particular that brings the house down, and that is ‘Fight the Fight’ performed by Bentley. With backing vocals by the male ensemble, this is a sensational performance that proves Bentley as a powerhouse. This is the highlight of the show for me.

For a musical I did expect more dancing and large scale numbers, and I do feel that more choreography would elevate the show. I also did find that the pacing could use some work, Act One did feel quite lengthy and spent a long time setting up the story. Act Two is where all the magic happens, where we settle into the story, care about for the characters and the emotions of the production are brought to the forefront.

From Here To Eternity ends with the names of all The Boys of 41 projected onto the stage, in a finale that ensures everyone in the audience sheds a tear. It’s a powerful story, and beautifully portrayed. This production is visually stunning, and the creative team behind this show deserve the highest recognition for this. This is a show not to be missed!

{🎟 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