Reviews of Bravo

Is it really worth going to watch a show called 'Bravo', which promises to deliver a musical medley of numerous past and future musical scores with a sprained ankle? Yes, my fellow readers, I genuinely did have a sprained ankle, while I sat there in a somewhat sophisticated and jazzy atmosphere in an Italian restaurant. The answer is absolutely, it was worth every slow and sometimes painful step because the performances were so outstanding. Although all the performers on the night were stunning, despite the fact they had no props or costumes to help them deliver the song as the character in the musical, Arabella Rodrigo definitely stole the show. 'I Can Sing' from 'Tales of Tinseltown' and 'Now That He Is Gone' from 'All About Love', showed off the versatility in her singing. Having said that, it is very difficult to favour one singer's performance over another because each singer bought their own quality to the performance. It was not just a routine cabaret night, but it essentially was a small window into the soul of musicals consisting of great voices and acting skills, without a setting.  Another striking point in the show, was when Giles Howe sang 'Lost For Words', which is sung by a female in the upcoming show 'Soviet Zion' and when Charlotte Donald sang 'It's Up To Me', which is sung by a male in 'Prince And The Pauper'. I cannot be sure why they decided to do this, but it does mean that if the singing is of high quality, conviction and literally blows you away, then the audience will not care for any thing else. A great show and a great night. My ankle was very thankful. - Fozia Noreen for Remotegoat

Bravo, presented by new musicals initiative A Stage Kindly, is a cabaret-style evening showcasing new musicals from writers around the world. Held in the basement of Freedom Bar Soho, this intimate space is well suited to an evening of musical treats. The four main singers - Charlotte Donald, Arabella Rodrigo, Adam Bayjou, and Frank Loman - generally do justice to a range of songs which covered everything from cyborgs, to prostitutes and even chiropractors. Singing without context and without the help of props, costumes or context, all the performers do well to fill their songs with character and emotion. I particularly enjoyed the naughtiness of Charlotte Donald singing "It's Not Like I Thought It Would Be" and the real emotion in "I'm Not in Love With Her" sung by Frank Loman. The group songs are also well-balanced, the pick being "Still Human Where It Counts", from musical-in-development Rock Heaven. Arabella Rodrigo's vocal range is impressive, especially in the show's opening number - aptly named "I Can Sing" - while Adam Bayjou plays timid and strong with equal skill. Only a few tweaks would improve the evening greatly. While the show is well-paced and covers a huge number of songs it would benefit from a little more information on each new musical, even if only provided in the programme. Also, while it's a nice gesture to have all the singers on stage, at times this breeds palpable disengagement among the inactive performers. All in all however Bravo constitutes an enjoyable evening and Katy Lipson and Giles Howe, the founders of this initiative, should be congratulated for providing new international writers an opportunity to have their music heard. - Laura Norman, WhatsOnStage

Reviews of Soviet Zion

There's something quite brave and endearing about Katy Lipson and Giles Howe's musical partnership. Firstly, it is the way they're communicating their passion for Classical Music, and Musical Theatre altogether with their strong connection to their Jewish culture: very old-fashioned, very composed, very authentic. Secondly, there seems to be a tendency, within their pieces, to manipulate creative conventions, deliberately, unapologetically, quietly. 'Soviet Zion', the latest fruit of their collaboration, is therefore no exception. Showcased at the cosy Rosemary Branch Theatre for one night only as part of their Branch Out season, 'Soviet Zion' is branded by its writers/composers as a new musical in the making. In progress it certainly was; a musical, not at all. Instead, Lipson and Howe presented with 4 of the project's cast members a very well performed recital of songs unveiling an unknown historical fact about Stalin's plans to set aside the Birobidzhan region for Jewish settlement in the 1920's. Through the lives of various families, their experiences of moving to the closer Promised Land, we get re-acquainted with universal themes of migration, displacement as well as being introduced to those of Jewish identity and the relations between Soviets and Russian Jews. Courtesy of its fascinating subject, the recital gave a clear indication of Soviet Zion's fair chances to grow into a good piece. - From a review by Alex Maluga for Remote Goat.

My dear friends ... I have heard your music from your opera and found it both unusual and lovely, of which I too have been accused! Thank you for sharing this with me and I will look forward to hearing more from you in your future projects. My best wishes to all of you. - Yma Sumac, Internationally acclaimed Peruvian exotica coloratura soprano, regarding Turkish Delight the Opera.