Luke Bayer

High School Musical

Leave a comment

Reviewed by Sophie Rowley

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

In 2006, Kenny Ortega sent audiences “soaring… flying” with his “fabulous” creation of High School Musical. The plot centres around two main characters: Troy Bolton, who rules the school as the captain of the basketball team, and Gabriella Montez, a transfer student who excels in her academic studies. When both decide to audition for the school play, neither could have anticipated the impact it would have on the “Status Quo”. Now, 20 years on, Hope Mill Theatre and The Lowry are staging a wonderfully immersive “non-replica” production of the iconic millennial masterpiece.

Walking into The Lowry, you can feel the excitement. The audience are kitted out in replica costumes and themed T-shirts, and there is a sea of red, white and pink weaving through the stalls. Hope Mill’s producers and co-directors, Joseph Houston and William Whelton, remarked, “High School Musical is a show loved and adored across generations. It’s our ambition to create a new stage production to bring together those generations to experience the live spectacle in a completely fresh way.” This enthusiasm is clear and joyously displayed in this exciting production. There is a comforting combination of generational excitement alongside fresh energy from those who are new to the show, bringing an emotional charge to the pre-show atmosphere.

Your eyes are immediately drawn to the stage, in particular the sheer scale of it, mimicking a school gymnasium. Andrew Exeter and the production team bring the film to vivid life through imaginative, interchangeable sets and vibrant background graphics, but the standout feature has to be the onstage seating. Yes, the audience get to sit on stage and witness the action court-side. This idea works well, as from the stalls it mimics the effect of watching a sports game. From the onstage perspective, there is a possibility of losing a little of the show’s essence as you are watching from a side-on view, but a fun experience nonetheless.

Aaron Renfree’s routines are so engaging to watch, well-timed and superbly executed, especially the basketball choreography. Having memorised the “We’re all in this together” routine in my younger years, I was ready to join the cast on stage and dance, as my inner 2006 High School Musical child desperately wanted the original choreography for the chorus but, billed as a “non-replica” production, I completely respect the artistic decision not to replicate the routines. However, with it being such an iconic song from the film, it would have created a delightful synergy with the generation who grew up watching the original.

Let us move onto the cast, and what a cast this is! Every single person on stage thrives in their portrayal, with their passion shining throughout. Starting off strong with the main man himself, Troy Bolton, played by Tobias Turley, who brings a mature, masculine quality to the role. He doesn’t portray Troy as a pompous adolescent wanting to be the star; rather, he brings a quite soft energy that allows us to see why Gabriella (Leonor Correia) falls for him.

Correia and Turley work well together, with Correia offering a new side to Gabriella by bringing elegance, poise and confidence to the role. Their characterisations make you feel safe watching them and, in doing so, reinforces the “fresh” perspective Houston and Whelton wanted the show to have. Their vocals are clear and strong, creating a strong musical theatre quality to the show. Again, this is a difference from the film, where the vocals favoured a pop-culture sound.

Their chemistry is subtle but effective, the complete antithesis to their onstage rivals, the Evans twins: Sharpay (Caitlin Tipping) and Ryan (Luke Bayer). These two are arguably the most recognisable pairing for original aficionados, and Tipping and Bayer do not disappoint. Sharpay is spoilt, arrogant and detestable, everything you want from her. Bayer’s portrayal of Ryan, Sharpay’s impeccably dressed minion, is accurate and adorable.

Coach Bolton (Jason Donovan) does well as Troy’s overbearing father, and Kaycee Stroh, formerly Martha in the original film and now Ms Darbus, proves that she can still “pop and lock and jam and break”. Special mention must go to Curtis Patrick, who plays Jack Scott. His energy is limitless; he uses every inch of the stage and theatre and was a real standout for me.

The casting team must be commended for their inventive work on this production. Every role is perfectly cast, and the standing ovation tonight demonstrates this further. While Sophia Pardon’s stunning Y2K inspired costumes reimagine the mid-2000s aesthetic for the modern stage.

Houston and Whelton wanted to bring together different generations in reimagining the story of High School Musical. With a film that has such an iconic following, this production succeeds entirely in bringing a fresh take to the original. Clever casting, stunning costumes and vibrant interchangeable sets mean this spectacular production hits all the right notes. The dance numbers are so well thought out, with the routines involving the basketballs being a wonderful nod to the Disney staple. The entire creative team have worked passionately to keep what’s important for fans while creating something exciting, new and thrilling for audiences.

Come on and get’cha head in the game and bop to the top of the queue to get tickets to see this show. You could even be part of the action and watch the show court-side! Go Wildcats!

High School Musical is on at The Lowry until Saturday 19th September, tickets are available here.

RENT

Leave a comment

Reviewed by Nikki Cotter

Opening Night verdict ⭐️⭐️⭐️⭐️⭐️

9 months after its original opening night which heartbreakingly coincided with the eve of the 2nd national lockdown it’s fair to say the cast, crew and creatives of Rent have never given up hope that their show would be seen by live audiences; cue a weekend of sell-out previews followed by a spectacular gala night, confirming that Rent is back, with renewed passion, urgency, and an overwhelming sense of triumph.

This gritty rock musical, set in New York’s East Village introduces us to a group of bohemian artists who despite their daily struggles, battle through life with determination and heart, strengthened by a deep-seated love and genuine friendship which connects them wholeheartedly. They too are living through unprecedented times as the AIDS epidemic sweeps through their streets and the elite want them cleared out of the neighbourhood.

Director Luke Sheppard and his team have created a truly mesmerising production, adding depth and energy to characters many musical theatre fans feel they know so well. The passion and thrill at being back on stage radiates from each performer with Tom Jackson Greaves’ punchy choreography offering a physical outlet for their frustrations as they fiercely defend their right to be heard. Similarly Musical Supervisor Katy Richardson and Musical Director Chris Poon ensure that familiar pounding score is note perfect while David Woodhead’s set and costume design paired with Howard Hudson’s lighting transports us to the atmospheric streets of New York.

Luke Bayer sets the tone right from the start as Mark, and angst filled filmmaker whose energy never wanes. Kooky and complex his video camera acting as a safety blanket protecting him from connecting too deeply and exposing his lonely reality.

Tom Francis is sensational as Roger, his rock God-like swagger draws you in while his brooding vulnerability catches you completely off-guard. His scenes with Maiya Quansah-Breed are simply beautiful, the two manage to make you feel like you’re observing a couple’s private moments; so in tune with each other are they. They draw out every ounce of emotion from their scenes, taking you along on their impassioned journey.

The deeply moving relationship between Angel and Collins which weaves through the storyline is both joyful and devastating in equal measure. Hartley-Harris’ delivery of I’ll Cover You – Reprise is breathtakingly beautiful while Alex Thomas-Smith’s Angel is pure perfection.

Cutting through the intensity is Millie O’Connell’s, Maureen who bickers and squabbles with girlfriend Joanne (Jocasta Almgill) throughout, her delivery of Over The Moon is hilarious. Both O’Connell and Almgill give their characters real strength, authenticity and bucketloads of personality while their rich vocals deliver some killer harmonies.

Michael Ahomka-Lindsay ensures Benny is seen as more than just a former friend turned landlord as his connection to the group warms and solidifies. Completing the casting is the featured ensemble who add bite and pure passion to the production; Issac Hesketh, Alison Driver, Iona Fraser, Joe Foster and Karl Lankester’s versatility and skill really authenticates this production as a true ensemble piece.

There is a strong sense of coming together in the face of adversity which drives the show, something we can all relate to given recent testing times. The poignancy of the piece truly connecting with the audience in the intimacy of the former cotton mill. The full ensemble pieces are thrilling, intimate and bursting with life while the stripped back moments are spine-tinglingly perfect.

At a time when theatre needs as much support as possible Rent is leading the charge for Hope Mill Theatre’s Covid recovery proving entirely that there’s nothing quite like the thrill of live theatre. Proud, punchy and powerful, Rent has it all!

Rent is on at Hope Mill Theatre until Sunday 19th September, tickets available now https://hopemilltheatre.co.uk/events/rent