1/14/2024 0 Comments Amanda footlight bar![]() ![]() ![]() Stinton works with Emily Bealer and Rose Roberts’ stellar choreography to infuse an intensely dynamic sense of energy which bubbles over in the theatrical ensemble pieces. It’s a testament to Amy Stinton’s understanding of their cast and story pacing but additionally the Pleasance’s limited stage size. Tebeila is a gift for the stage, grasping the joy in cliché but evolving into something more mature and appreciative for audiences: whopping well done. Like McClure, they comprehend the emotions of the script, salvaging the production’s less-than-stellar lyrics (a surprising fault from the legendary Lin-Manuel Miranda and Amanda Green). But when turning to the Jackson High cast – the simple fact is that vocally and in their presence, Mokkie Tebeila (and Kane) is fully qualified in carrying their notes to a Westend level. Giddy, bouncing, and more in-tune with what’s popular than we ever will be, Keiko Tani’s Nautica and Brandon Yim’s La Cienega make the perfect break away from the love triangles, in-fighting and high lifts and flips.Ĭhris Kane’s Randall has the pipes to back their performance as we get introduced to the Jackson lot, capturing the nineties idea of cool, composed, and calm. Devouring the part of the sinister power-hungry teen, McStay’s solo numbers late into the show are crowd favourites for the embracement of the ridiculous, backed up superbly by Kirsten Matthews’ Kylar. Though persistent and occasionally sharp, Pesciarelli brings pleasure and relish to the role that it’s easy to move past the jabs from the pushy top-of-the-food-chain cheerleader.Įqually as status-obsessed, Campbell’s neighbour Eva seems like a swell gal, right? But don’t let the sweetness and the giddy skips of Maria McStay’s performance fool you. But someone not lacking in confidence is Giulia Pesciarelli’s dedicated Skylar, perhaps the most likeable bitch the stage has ever graced us. From hiding in invisible books to finding an inner blaze of self-confidence during It Ain’t No Thing, Iseka-Bekano rightly gets the applause they deserve. But in the ashes of Truman’s old group a new leader rises.Įarnest, genuine, and infusing a wealth of sentiment in their performance and physical expression, Lucy McClure is an ideal Campbell: able to rally the ensemble pieces while focusing their performance on the more intimate moments with her co-stars, leading to touching renditions of One Perfect Moment and What Was I Thinking. It elevates the production and skirts it away from the teen angst into a more rounded and developed show, but don’t fret – there’s more than enough absurd humour and flashy, gooey romances to take your pick.įrom initial sidekick to the main stage, Gemima Iseka-Bekano’s Brigette develops into an all-around more engaging character thanks to a tremendously vulnerable and nevertheless hilarious role. The bones of it all follow Campbell, newly elected captain of Truman’s cheerleading squad, only to have this wrenched from her as the district lines of the town receive new boundaries, shunting her to a different school where dance exists in the hip-hop variety, championed by Danielle. Taking the foundations from the 2000 cultural zeitgeist which was Kirsten Dunst defining role, the 2011 musical incarnation of the cheerleading comedy hi-jinks drama Bring It On! elevates the more simplistic narrative of rival cheerleader squads and develops it into a more touching tale of self-discovery, acknowledgement of privilege and mistakes, and remaining true to genuine friendships.Ĭheerleading still has a tremendously important place within the production, particularly its high-energy second act, but the principal narrative follows two schools, two rival dance groups, and enough hormonal showboating to fill a therapist’s diary for years. ![]()
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