Bat Out Of Hell The Musical Review

The Plot

In a dystopian future wild teens wander the apocalyptic streets, mysteriously never aging past 18 years old. The tyrannical Falco rules high above them with his wife and rebellious daughter Raven trapped in a luxurious skyscraper. Until a forbidden romance between Raven and Strat, the rock and roll leader of the Lost youth, threatens to tear both worlds apart.

The Good

Meatloaf’s epic musical collaboration with composer Jim Steinman remains one of the highest selling and most iconic albums of all time. Originally created with the intention of being a theatrical production, after over 40 years Steinman finally realises that dream to the delight of long term fans and new audiences alike.

As crowd pleasing ‘jukebox’ musical Bat Out of Hell draws upon a truly unique collection of songs, made even more powerful by audiences existing familiarity. Few West End productions can boast soaring power ballads with even half the power of I’ll Do Anything For Love. It’s simply an enjoyable embarrassment of musical riches to parades hits like Dead Ringer For Love, Two Out Of Threes Ain’t Bad and the titular Bat Out Of Hell.

Meatloaf is one of the most instantly recognisable and powerful vocalists in rock history, so it’s a massive compliment to the entire West End cast that they are able to fully match that note perfect power and collectively reimagine his popular back catalogue. Aided by elaborate production value and the grandeur of one of London’s most lavish Theatre spaces the musical fully succeeds in avoiding ever feeling merely like skilful karaoke. There’s  genuinely electrifying atmosphere to these live performance that gives audiences so much more than watching a YouTube medley of Meatloaf music videos ever could.

Bat Out Of Hell has assembled a talented cast of seasoned theatre veterans and undaunted newcomers. The shows core quartet of Rob Fowler, Sharon Sexton, Christina Bennington and Andrew Polec all deserve considerable praise for vocally flawless performances and for bravely tackling some of the more cringe inducing dialogue. The show often nods to self-awareness of its more ridiculous elements and the cast’s consistently earnest and enthusiastic performances carry audiences through those moments with a confident smirk.

Though the first act lurches often from the sublime to the ridiculous an indisputably stronger second act sees the show deliver a steadier stream of musical spectacle less often interrupted by silly narrative elements. Uncertain audiences are likely to be won over entirely as the show finds its feet and struts through a succession of iconic power ballads with their rapturous support. Having adjusted to the somewhat weird and wonderful world of Bat Out Of Hell The Musical audiences are ultimately left with the simple truth that these songs are uniquely entertaining and meaningful in the way only rock anthems truly can be.

The Bad

Meatloaf’s unique brand of gothic rock opera is widely appealing, but there are still some who are of course less enthralled by its kitsch charms. Those reluctant to embrace the ostentatious vocal theatrics of Meatloaf and Jim Steinman’s elaborate compositions are unlikely to find that opinion altered by the transition to stage. Indeed those that specifically object to the self-indulgence of 10 minute long power ballads will only be left more exhausted by a series of them tied together by sparse dialogue and a frequently bizarre narrative.

Shamelessly gothic production design and a near constant use of heavily stylized video projections may also divide audiences between those who love the camp fun factor and those left unsure how seriously to take anything. Likewise while Steinman’s lyrics have always been elaborate and wildly melodramatic, without the swooping support of symphonic guitar riffs that same language risks becoming outright laughable dialogue during the connecting scenes. Though of course that bare chested crudely poetic silliness is an entertaining guilty pleasure in its own right.

Though the show undeniably captures much of what millions of fans love about Meatloaf, amplifying those distinctive traits won’t win over everyone and especially those who find endless rock opera more draining than delightful.

The Ugly Truth

Bat Out Of Hell soars onto stage with triumphant performances of the most beloved rock ballads. The show pays loving tribute to the unique charms of Meatloaf while equalling his legendary live performances, especially in a relentlessly spectacular second act. After 40 years this new musical is a unique addition to the West End and essential viewing for existing fans and those discovering these song for the first time alike.

Review By Russell Nelson

New Jurassic World Fallen Kingdom Poster

Check out a brand  new poster shot and latest details for Jurassic World Fallen ahead of the launch of a final full length trailer tomorrow.

It’s been four years since theme park and luxury resort Jurassic World was destroyed by dinosaurs out of containment.  Isla Nublar now sits abandoned by humans while the surviving dinosaurs fend for themselves in the jungles.

When the island’s dormant volcano begins roaring to life, Owen (Chris Pratt) and Claire (Bryce Dallas Howard) mount a campaign to rescue the remaining dinosaurs from this extinction-level event.  Owen is driven to find Blue, his lead raptor who’s still missing in the wild, and Claire has grown a respect for these creatures she now makes her mission.  Arriving on the unstable island as lava begins raining down, their expedition uncovers a conspiracy that could return our entire planet to a perilous order not seen since prehistoric times.

With all of the wonder, adventure and thrills synonymous with one of the most popular and successful series in cinema history, this all-new motion-picture event sees the return of favourite characters and dinosaurs—along with new breeds more awe-inspiring and terrifying than ever before.  Welcome to Jurassic World: Fallen Kingdom.

Stars Pratt and Howard return alongside executive producers Steven Spielberg and Colin Trevorrow for Jurassic World: Fallen Kingdom.  They are joined by co-stars James Cromwell, Ted Levine, Justice Smith, Geraldine Chaplin, Daniella Pineda, Toby Jones, Rafe Spall and Isabella Sermon, while BD Wong and Jeff Goldblum reprise their roles. Directed by J.A. Bayona (The Impossible), the epic action-adventure is written by Jurassic World’s director, Trevorrow, and its co-writer, Derek Connolly.

Game Of Thrones Wins Special BAFTA Award

Landmark fantasy series Game of Thrones is to be honoured with a special award at this year’s Bafta Television Craft Awards.

Actors John Bradley (who plays Samwell Tarly) and Hannah Murray (Gilly) will accept the award on 22 April on behalf of HBO drama’s production team.

The Special Award recognises the skill behind the making of the series and its outstanding contribution to pushing the boundaries in its field. The award also recognises the support the series has given to the UK television industry.

Reacting to the news of the awards recognition the shows executive producers DB Weiss and David Benioff said:

“This award makes us extremely happy on behalf of the people who actually earned it – all our brilliant, talented, hard-working department heads and crew. Many, many people work insanely hard to create any film or television show. They are creators every bit as much as actors, writers, producers or directors, and deserve to be recognised as such.”

Bafta’s television committee chair Krishnendu Majumdar also added

“The craft behind what is one of the most popular dramas of our time is nothing short of incredible, from the breath-taking location shots to the intricately designed costumes and set pieces, and not forgetting the level of detail from the make-up and prosthetic team to name a few.”

The BAFTA Television Craft Awards ceremony will take place in London this weekend, hosted by Stephen Mangan and honouring shows across a wide range of technical categories ahead of the main BAFTA TV Awards taking place next month.

BAFTA Games Awards Winners 2018

BAFTA has announced the winners of tonight’s British Academy Games Awards, which celebrated the very best in games of the past year. The ceremony was hosted by Dara O’Briain at Troxy, London.

What Remains of Edith Finch, the second game from BAFTA-winning developer Giant Sparrow Studios, won Best Game. Giant Sparrow previously won for The Unfinished Swan in the debut game category in 2013.

Hellblade: Senua’s Sacrifice, which explores the titular character’s struggle with mental health issues, won Artistic Achievement, Audio Achievement, British Game, Game Beyond Entertainment and Melina Juergens won in the Performer category for her role as Senua.

Super Mario Odyssey, the 3D platform game from Nintendo, won Game Design and Family.

Another eight games were winners on the night. The hand-drawn story puzzle game, Gorogoa, won Debut Game. Following its win at last year’s awards for Multiplayer, the team-based first-person shooter Overwatch won Evolving Game. Golf Clash, the real-time multiplayer game, won Mobile Game. The Legend of Zelda: Breath of the Wild, the action-adventure game, won the BAFTA for Game Innovation. The role-playing game Divinity: Original Sin 2 won in Multiplayer. Cuphead, the run-and-gun indie game, won in Music. Night in the Woods, the adventure game focusing on exploration, story and character, won the BAFTA for Narrative. The action role-playing game Horizon Zero Dawn won for Original Property.

The Fellowship was presented to Tim Schafer in recognition of his outstanding creative contribution to the industry and for his illustrious career in game design.

Quiz Review

The Plot

Based on the most infamous scandal in gameshow history, Quiz re-examines the case of Charles Ingram, an army major who won a million pounds on gameshow Who wants to be a Millionaire?, only to be subsequently accused of an elaborate conspiracy involving his wife and another contestant on the show to cheat their way to the jackpot.

The Good

Those with any passing familiarity with the hysterical media coverage of the ‘Coughing Major’ case may enter the theatre with a pretty clear view of both what happened and what kind of people notorious couple Charles and Diana Ingram really are. What James Graham’s production skilfully does is embrace and challenge those well-established opinions with equal passion, profoundly impacting surprised audiences in the process.

Quiz leads audiences though the murky evolution of TV quiz shows, poking fun at the quirky theatrics and greedy consumerism and ruthlessness that underpins it. The productions use of video screens, Electronic keypads and frequent audience participation helps capture the peculiar quiz show world, whilst further investing audiences in proceedings by making them more explicitly involved and complicit. While seemingly silly it’s a fairly effective trick that pays off well during the shows more dramatic moments.

Quiz boasts a versatile ensemble of actor that offers audiences a compelling mix of pageantry and pathos. Keir Charles is a flamboyant delight as an exaggerated but instantly recognisable version of Chris Tarrant. Helping paint a vivid portrait of the gameshow’s most public face. True praise belongs however to Stephanie Street and Gavin Spokes as the Ingrams, at the heart of the production their performances morph effortlessly as required between comedy and poignant tragedy.

Leading man Gavin Spokes in particular does magnificent work at capturing the memorable eccentricities of Major Ingram whilst also managing to craft a vulnerable performance with sincere depth. Quiz goes well beyond mere impersonations in its quest for drama and truth.

The Bad

While the show’s second act bristles with anger and tragedy that is likely provokes plenty of audience self-reflection, it’s fair to say that the show’s first half is sometimes a little less focused as it has fun setting up the myths and misconceptions it later delights in tearing down. Frequent audience participation may be good natured fun, designed to set the scene for the gameshow drama, but at times it gives the show a pantomime like quality that belies some of the serious themes it truly explores.

Likewise while the production offers audiences excellent arguments based on compelling facts, more stubborn spectators may not entirely welcome having their established preconceptions so directly challenged. Nobody like to feel wrong and changing minds is never easy.

The Ugly Truth

Quiz is a fascinating theatrical experience that provides audiences with frequent laughs and many lingering questions. It’s playful and interactive approach allows it to gently confront audiences with uncomfortable truths about what we believe and just how easily we can be deceived. Quiz is a fun and thoughtful night out combining technology and mass media motifs with classic West End showmanship.

Review by Russell Nelson