THEGAYUK

Author: Craig Crowther

  • THEATRE REVIEW | Yank! The Musical

    ★★★★ | Yank! The Musical

    Yank! The Musical review
    credit Anthony Robling

    Manchester’s Hope Mill Theatre is the perfect setting for this MGM-style musical which is performed with style and honesty.

    This new musical, written by brothers David and Joseph Zellnik, is having its premiere at the Hope Mill Theatre in Manchester. It is an apt location for this innovative piece which buckles the trend of new pop-musicals. Yank! is billed as World War II love story. While ostensibly this is true – it’s actually much more than it gives itself credit for.

    The show centres around Stu, a young gay man, who is drafted into the army to fight in the Second World War. He struggles to find his literal and metaphorical place amongst the pseudo-masculine military men – a mission which is only complicated by his complex relationship with his fellow squadron Mitch.

    Musically and stylistically, Yank! has all the makings of the classic MGM musical. Though the second act goes to places which are considerably more candid and poignant that you might expect from a show consisting of tap-dancing men in khaki.

    Scott Hunter plays the timid Stu with a fragile believability and Barnaby Hughes’ Mitch has all the charisma you’d expect from an, albeit untraditional, leading man. The ensemble cast are also strong all-rounders and support the principle cast in moments of hilarity and sincerity alike.

    Despite the show being set almost 80 years ago, the tropes of this new musical are as current as ever. Substitute the frontline with a school playground, workplace or a homophobic family home, and you’ll see that the struggles of young gay men are not confined to the stories of history.

    The tropes surrounding institutions and homophobia couldn’t be more timely. In recent years we’ve seen the legalisation of gay marriage, the story of Alan Turing been turned into a Hollywood film, and scores of gay men being posthumously pardoned for sexual offence crimes.

    Baker, the show’s director, said that he didn’t want these stories to get lost from history. With this charming new musical hopefully set to become a staple of musical theatre repertoire, the story of Stu and Mitch, and the men they represent, will hopefully live on for years to come.

    Yank! The Musical plays at the Hope Mill Theatre until 8th April 2017

  • OPINION | When did gay culture start losing its individualism? When did we all turn into banker w*nkers?

    OPINION | When did gay culture start losing its individualism? When did we all turn into banker w*nkers?

    In his latest book, The Descent of Man, Grayson Perry cleverly charts the misfortunes of masculinity and their repercussions on both the female and, more interestingly, the male sex.

    CREDIT: kunertuscom-bigstock

    Perry himself is not only a Turner Prize winning artist but also a prolific cross-dresser, and he speaks with flair and intelligence as he critiques the prominence of what he calls default man. This tribal identity, which is characterised by a sober dress sense, a steely bravado and an apparent lack of empathy, accounts for only 10% of the population but dominates the spheres of business, politics, sports and the media.

    It’s little surprise, as Perry points out in his book, that majority of those who kill, rape and go to war fit the obtuse criteria and are bred from what he denotes the department of masculinity. Bankers typify default man – they are also renowned for possessing psychopathic tendencies.

    But no longer are these proclivities reserved for straight males, they’re now abundant in the gay community. The most transparent illustration of this is the term ‘straight acting’. This vexatious use of language now adorns the profiles of many, along with their beards, biceps and tangible disdain for all thing considered effeminate. And this isn’t mere conjecture. A recent study found that those who identify as ‘straight acting’ were more likely to agree that feminine guys give the gay community a bad reputation and were also significantly less likely to experience homophobia themselves. It’s not about raising ideological warfare and dictating the gender performance of any individual or subculture. The diversity of men, from twinks to bears, is what makes the gay community such an eclectic collection of personalities and individuals. It is this very cacophony, brimming with colour and verve, that we should be striving to maintain. Instead, we seem to be diluting our eccentricities, losing our individualism and with it what makes us special.

    We need to ask ourselves if this pernicious desire to conform to this ideological stereotype is healthy.

    This issue isn’t the exclusive domain of homosexuals, indeed Perry’s book largely addresses the hetero masses but given that we already know that the gay community experiences increased rates of bullying, substance abuse and mental health issues, these findings are at best regressive and at their worst pervasive and dangerous to the health of gay men. Trying to live up to false ideals never leads to happiness and contentment in the end, even if society seems to applaud and ratify the notion of default man.

    Suicide is the biggest killer of men under 45 in the United Kingdom – something is clearly going wrong.

    To some degree or another we’re all bound by the confines of our biological sex – but what lies ahead in a world of pass privilege is the eradication of gay culture and identity. Is it any coincidence that as our community becomes more hetero-normative equality seems to be finally on the up? The motivations for aspiring to this so called ‘pass privilege’ are not difficult to identify: bullying, stigmatisation and loneliness are all too familiar tropes – but the acceptance of difference, not assimilation into the uniformity of default man is what is needed if we are to move forward in a healthy and progressive manner.

     

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  • THEATRE REVIEW | Funny Girl, Palace Theatre, Manchester

    ★★★★ | Funny Girl, Palace Theatre Manchester

    In the opening lines of the show, Fanny Brice declares, ‘That’s where I live, on stage.’ In a rip-roaringly fantastic return to the show by Sheridan Smith; it’s impossible to believe she belongs anywhere else.

    The narrative of Funny Girl lacks originality. The rags to riches rise to fame, peppered with a predictably turbulent love story. These are popular tropes of the post-war musical, and Funny Girl is no exception. Act one of Isobel Lennart’s book just about generates enough excitement to retain one’s interest in the story. Act two doesn’t fair too well in this department. Michael Pavelka’s sparse, asymmetrical set design left the stage feeling desolate at times. And, while some have interpreted the precariously tilted proscenium arch as a representation of Fanny’s life – I think it’s a metaphor too far for this light-hearted musical comedy. However, like many things in this production, the lack of dramatic pace and uninspiring set design dissipates in a heartbeat when Smith is on stage.

    The show is an unapologetic star-vehicle for the lead role, which was popularised by Barbara Streisand in the 1969 film – an indisputably tough act to follow. But Funny Girl is the story of vaudevillian Fanny Brice, and her meteoric rise to fame in the Ziegfeld Follies – a story which has distinct echoes of the show’s star Sheridan Smith. Smith herself is fast becoming the doyen of British theatre, and with performances like this, the hype is more than justifiable.

    She sings with ample vocal ability and dances with confidence and flair. But Smith is ostensibly an actress – and it is her sublime characterisation, which never falters, where her unique ability to captivate is most alive. Her character Fanny claims to have ’36 different expressions’. To say Smith has expression is to dilute the honesty of her performance. In the wrong hands this role can be two-dimensional, but Smith’s astute comic timing, palpable likeability and wholly believable vulnerability chimes the chord of truth every second she is on stage.

    The ensemble also gave a solid performance, and orchestra was in fine shape too. The same could not be said for my legs after being sat in the grand tier of the Palace Theatre in Manchester for three hours. I normally give the note: ‘restricted legroom’ a perfunctory glance and have no problem. I think, the tangible desire for the audience to jump to their feet was to congratulate Smith on a stellar performance – but the audible sigh of relief from my fellow grand tier survivors leaves one to wonder. Seat issues aside: a star was not born at the Palace Theatre this week, but rather cemented into history as one of our most talented leading ladies.