Loosely based on the French literary folktale, the plot revolves around a charming nobleman wooing and marrying a young virgin girl, Pam, and inviting her into his macabre existence. Adam Robertson is Bluebeard; a charismatic male lead with magnetic charm, an impressive Movember-esque moustache and a closet full of skeletons – of his previous two-dozen wives. After Pam discovers his perverse secret, she struggles to avoid the fate of her predecessors.

The most impressive element of this production is, undoubtedly, the intricate design. A limited budget did not limit the creativity of this set, with the staging including a complex system of rigging, leavers and pulleys from which props were lowered from the ceiling. A particular highlight was when a coat hanger was suspended and a shirt was placed upon it, instantly portraying a male love interest, from which, a beautifully crafted dance was created.  Striking Brechtian lighting was used to simple but great effect.  A classic overhead projector was the main source of stage lighting and the team created countless effects with card cut-outs and projections.  A magical backdrop was created as water and oil were poured into a backlit Tupperware, casting eerie shadows and forming an ethereal atmosphere. A tandem bicycle positioned upstage, when peddled, lit a singular light bulb – a charming addition to an innovative light design.

The live music and song also deserve a mention. With catchy melodies and haunting harmonies, the group are talented musicians as well as performers. Live sound effects were a great source of comedy throughout – snapping celery at the mention of breaking bones and equally evocative effects.

While many of the performances were strong, there was still an air of under-rehearsed haphazardness.  It was evident that one of the performers was a recent addition and, unfortunately, the moral ‘message’ of the play fell slightly flat and concluded in a rather abrupt fashion. Despite this, it is rare to see a production with such imagination and creativity and while a little polish is needed, the innovation and talent on display is enough to make for an enjoyable evening.

Bluebeard: A Fairytale For Adults plays until 3 December at the Battersea Arts Centre. 

Stephanie Moore TheatreFix Reviewer

I love Greek legends.  I’ve read them, performed in them, written extensive essays on them, and even flown to Athens to see the Theatre of Dionysus where they were originally performed.  I love their universalism, and their ability to be dissected and warped into any context.

Walking into the Old Vic Tunnels to see modernised myth, Orpheus & Eurydice, you may as well be descending into hell.  For those of you who have never been to this venue – go.  I found myself wondering how health and safety officials hadn’t shut it down yet.  It was amazing. It felt like we had discovered a secret, underground community who have been outcast from society and forced to live in these disused tunnels beneath Waterloo.  Dank and dark it may be, but it makes the perfect surroundings for this classic love story set in the depths of the underworld.

The show opened with an installation, not dissimilar to the live horror shows experienced at the London Dungeons.  The audience walked down corridors coated in plastic sheeting, through two hospital operating theatres where Orpheus (Slinky Winfield) and Eurydice (Phoebe Haines) lay, both sedated and pre-op.  The modern hospital context was a theme used – cleverly yet unsubtly – throughout.  The chorus became student doctors, the dancers became surgeons and Orpheus and Eurydice became patients of a liver transplant.

The music was vital to the production, and it was phenomenal.  Composed by James Johnston and Tristan Parkes, with songs by alternative Australian rock band Nick Cave and the Bad Seeds, this haunting, gothic soundtrack perfectly supported the contemporary Greek chorus, whose harmonies were flawless.  The tragic hero, Orpheus, is said to be the greatest musician to walk the earth.  This claim was not unfounded when Winfield kicked off his quest with a rap; unfortunately, it was the only rap in the whole production, which was bizarre.

There were so many fantastic elements to this production; James Button’s intricate set, the group of Liars (a wonderful comic relief), the red balloon – a symbol of self-sacrifice, the stage fighting, the river of souls, the atmospheric lighting and brilliant performances – too many to mention in this short account.  Still, whilst the ending was less than traditional, the only thing I missed was the presence of Hades – everyone loves a villain.

Stephanie Moore TheatreFix Reviewer

Orpheus & Eurydice, A Myth Underground runs until 17^th September at The Old Vic Tunnels as part of the National Youth Theatre summer season.

A lucky group of TheatreFixers, however, had the unique opportunity to not only watch the fantastic farce, but also meet some of the cast and ask them questions about their experience on the show.

Matthew Kelly, who plays Henry Saunders – the Opera Director – was first to appear front of house, followed by principals Damian Humbley (Max Garber) and Michael Matus (Tito Merelli); all gleaming with post-performance perspiration.

After jovial niceties, it didn’t take long for the show’s premature closing to come up in conversation, a topic that the cast felt very passionate about. Kelly spoke of what he described as the two schools of thought on the relationships between West End shows.  The first being that all West End musicals are in competition with one another; the second being that they aid each other – if someone sees a great show, they will be more willing to see another.

Michael Matus spoke of the need to embrace and nurture new writing.  One of the struggles of a new show is competing with the commercial blockbusters – namely musicals that have been translated from hit films – and trying to entice audiences to see a new, original show that they may know little about.

The chat soon turned to the TheatreFixers, some of whom are already in the world of show business, and others who are hoping to become performers in the future.  Kelly’s effervescent character was just as loveable off-stage as on, as he gave valuable advice on how to deal with rejection at auditions.  His key point was that you shouldn’t consider the audition process as a competition. The casting process is predominantly based on type and whether you are physically suited to the role.  The key piece of advice was, “to keep faith in yourself because you are unique – there is only one you!”

When the cast was asked how they keep their operatic vocals pitch perfect with seven performances a week, Matus told us to sleep a lot and hydrate regularly.  Kelly chuckled, whilst sipping a post-show celebratory glass of red wine.

The whole evening was a wonderful opportunity to see a phenomenal show and meet some of the extremely talented cast.  Kelly’s final words of advice to the young theatregoers hoping to work in the industry: “The best way to get ahead in the theatre is to see new shows, stay connected and stay in the loop.”

You can read our review of Lend Me A Tenor The Musical here

Stephanie Moore

Anna Ledwich’s production is an adaptation of Arthur Schnitzler’s famed novella, which is also the inspiration for the 1999 film starring Tom Cruise and Nicole Kidman, Eyes Wide Shut. Based in Vienna at the turn of the 20th century, the play explores ideas that were prevalent in society at the time; repressed fantasies, sexual desires and unfulfilled passions – very Freudian.

The narrative is disorientating and scenes appear episodic, however they are cleverly interwoven through reoccurring characters. Luke Neal commands the stage as the tormented doctor who appears to be constantly battling to suppress his Id. His illicit adventures lead him to seek refuge in the arms of a grieving daughter and a 17-year-old prostitute, before finding himself at a high-society masquerade orgy. An unsettling and explicitly sexual ‘Jekyll and Hyde’ style scene unfolds, as multi-rolling actor Jon Foster reenacts the scene, leaving Fridolin to relive his sexual escapades. The line between reality and fantasy is blurred considerably as the sexual desires of the dreamers are explored – it is never clear what is fact and what is fiction.

Helen Goddard’s cleverly compact set is altered gradually and effectively between scenes to create a claustrophobic sense of space. Using metal bars, grated lighting and various barriers, the set becomes a further imprisonment for the characters, showing them as captives of their own desires.

To try and summarise such a complex production proves problematic; it was beautifully executed, if a little confusing, and I left feeling intellectually inferior but in awe, nonetheless.

Dream Story plays until 16 July with tickets available for just £5 for TheatreFixers (usually £20). Visit TheatreFix for details of how to book.

Stephanie Moore TheatreFix Reviewer

However, this was not the scene that arrests you upon entering the auditorium to watch Lord Of The Flies. Jon Bausor’s set design is an incredible and startling sight; the debris of an aeroplane is embedded in the tress with scattered cargo, sand and strewn clothing. Nigel Williams’s adaptation of the classic William Golding novel begins in the hazy early evening sun with the audiences’ expectations already sky high.

Those of you who survived GCSE English will most likely be familiar with Golding’s genius novel. Overflowing with symbolism and metaphors, the story follows a group of young boys who are stranded on a desert island following a plane crash. After electing charismatic leader Ralph (Alistair Toovey) as ‘chief’, the boys begin to set rules to live by, before any semblance of order turns to anarchy. This disorder is led by prefect and posh-boy Jack (James Clay), leaving the group divided, with both parties fighting for survival.

The production has a strong, all-male cast ranging from drama school graduates to a boy as young as nine. George Bukhari’s portrayal of Piggy receives the perfect balance of pity and laughter, Roger (Matt Ingram) is flawlessly barbaric and genuinely disturbing, the ginger brothers are adorable and bare a striking resemblance to the Weasley twins.

The performances are chilling as the nature of mankind is explored and revealed. A particularly haunting scene is the death of Simon (Joshua Williams); full-scale chaos occurs when the boys, almost possessed, beat the young boy to death. Timothy Sheader’s clever direction incorporates dual scenes unfolding parallel to one another – one scene shows the hunters performing ritualistic, slow motion tribal dancing and the other shows the hunted in their den forged from the wing of the plane. The metaphor is clearly emphasised; Ralph versus Jack, good versus evil, order versus sheer brutality.

There are, however, moments of lightness, primarily at the expense of nine-year-old Percival (Adam Thomas Wright). His youthful innocence is untarnished (somewhat unrealistically) and he appears to think the hunting of Ralph is still a perverse role-play, even after the deaths of Simon and Piggy.

The first act felt a little long (that may have been due to not wrapping up warm enough!), however I was fully engrossed throughout the production. As if they timed the sun to set, beautiful reds and oranges became an amazing backdrop to the tropical island before the stage was submerged in darkness for the final few scenes, as the pack of boys become the ‘beastie’ that they had once feared.

Lord Of The Flies runs until 18 June and TheatreFix readers can buy tickets for just £14 (usually £34).

Stephanie Moore TheatreFix Reviewer

Steph and cast member Trenyce Cobbins

For this 1000th West End performance at the Lyric theatre, the talented cast were joined by Britain’s Got Talent star Shaheen Jafargholi and Eurovision boy band Blue, to honour and pay tribute to Jackson’s legacy.

The concert-style show has five lead vocalists who take you through Jackson’s discography – beginning with early years and the hits of The Jackson 5. James Anderson (small kid, enormous talent) stole the show as little MJ. Hits such as I Want You Back and ABC left the audience boogying in their seats before Jafargholi took to the stage to sing the beautiful Music & Me. Lead vocalist Alex Buchanan sang the haunting track She’s Out Of My Life to awestruck silence. His exceptional voice was an exact imitation of MJ’s and left the woman sat behind me sobbing well into the disco era.

The Jackson disco hits, whilst fun and funky, are before my time so I was anxiously awaiting the famed tracks from the best-selling album Thriller and the epic Bad album. The cast did not disappoint. With tilting trilbies, white gloves and a chorus of mini Michael’s, the second act was nothing less than phenomenal. Director and choreographer Gary Lloyd went to town on Smooth Criminal and Dirty Diana with the dancers taking the limelight. The talent was bursting from the stage as the boys nailed break dancing, salsa, stage fighting and even the iconic MJ ‘groin thrust’. The sheer flexibility of the ladies was startling and their shimmy and sass had just the attitude needed for these legendary hits.

Steph and friend at the after party

As the (gorgeous) reformed boy band Blue sang Man In The Mirror, the 13-year old inside of me fainted, but I was a little disheartened when I saw Duncan James reading his lyrics off the palm of his hand! However, the boys dazzled the crowd and the theatre became a pop concert, armed with screaming girls (mostly me) and glosticks.

The show ended with Billie Jean and Thriller before the cast, celebrities (namely Gok Wan, X Factor’s The Reason, Dancing On Ice stars) and a lucky chosen few headed to Planet Hollywood to continue the celebrations. Guests drank wine, beer and gigantic cocktails while mini-burgers, nachos and pizza were munched down. The DJ blasted out MJ tunes whilst a friend and I practised our own moonwalks with the mini Michael’s.

For photos from the night visit our TheatreFix fan photos album on Facebook.

Stephanie Moore TheatreFix Reviewer