Author: Greg Mitchell

  • MOVIE REVIEW: Having You

    ★★★ | Having You

    The two DVDs that came through my letterbox just after Christmas could not be more different, though both come from our friends over at Matchbox Films.

    The first of the two I watched was Having You, written and directed by Sam Hoare.

    There are some great performances here, from Andrew Buchan as recovering alcoholic Jack, from Philip Davis as his thoroughly nasty and unlikeable father, from Romola Garai, as Jack’s beautiful girlfriend, from the gorgeous Steven Cree as Jack’s business partner and sponsor, and from the ever watchable Anna Friel as Anna, a blast from the past who drops a bombshell on Jack that he finds difficult to come to terms with. It’s a gentle, watchable movie, which draws you in, but I confess to finding it somewhat manipulative with an ending that is just a little too pat to be convincing. None the less, worth catching if you have a couple of hours to spare one evening.

    BUY FROM AMAZON

  • FILM REVIEW | Exposed: Beyond Burlesque

    Director Beth B brings us Exposed: Beyond Burlesque, an expose of the ‘new’ burlesque scene, which seeks to challenge traditional ideas of body, gender and sexuality.

    A mixture of interviews, glimpses backstage and filmed performances, we are introduced to an engaging group of individuals, who might also, in other circumstances, be called misfits.

    According to Mat Fraser, an English performer with phocomelia of both arms due to his mother being prescribed thalidomide during her pregnancy, burlesque is an honest and sometimes brutal art form. It can also be extremely vulgar, which is I suppose the point.

    There is a lot of naked flesh on show, though very little in the way of titillation. Maybe, to fully experience the power of these acts, one has to be in the audience, but most of the interest really comes from the interviews, and the performers’ often quirky view of life; at its heart a touching little love story between Mat Fraser and Julie Atlas Muz.

    Truth to tell, it is a little long and could have done with some judicious pruning. I found my mind wandering quite a bit after the first hour.

    Available to buy / view on: Amazon | Amazon Prime | iTunes

  • Top 10 | Theatre Film and TV of 2013

    Well we’re at the end of 2013 and what better time to look back at my 10 best theatre, tv and film moments of the year, some of which I reviewed, some of which I didn’t.

    Sadly, my first choice only managed a run of a few months at the London Palladium, nor is it a show I reviewed myself. The original Broadway production of A Chorus Line opened in 1975 and ran for 6,137 performances, garnering no less than 12 Tony Awards. It was the longest running musical in Broadway history, until overtaken by Cats in 1997. Here in London it managed a respectable 3 year run, when it opened at the enormous Theatre Royal, Drury Lane in 1976. The Palladium revival was a loving re-creation of the original, using Michael Bennett’s original choreography (Bennett died in 1987 of AIDS related lymphoma), and it brought back many memories of when I was a young dancer, working in the West End. This revival was every bit as brilliant as the original production and various reasons were offered as to why it was not as huge a success this time round. Apparently it had minority interest (only dancers and people in show business could have any interest in the travails of being a Broadway/West End hoofer); at 90 minutes without an interval, it was too long and attention flagged; it lacked spectacle being set, for the most part, on an empty stage with dancers in practice clothes. But this was all true the first time round, and the show was a huge success back then. Audiences have changed, I suppose. Certainly the second time I attended this revival (on press night) the audience seemed more interested in being seen themselves than watching the show.

    I did review my next musical of choice, and am happy to report that it is still running at the Phoenix Theatre, and absolutely demands to be seen. Once was originally a charming indie film, which has been expanded and fleshed out to make a full evening at the theatre. The stage of the Phoenix has been decked out to look like an Irish pub, where members of the audience can enjoy a drink before the show and during the interval. Almost imperceptibly the show starts, while the audience are still making their way to their seats. Not really a musical in any conventional sense, it is original, charming, sublimely poetic, moving, eloquent, and stylish. Don’t miss it.

    Of my next three choices, only one is still running in the West End, though the Menier Theatre production of Sondheim’s Merrily We Roll Along enjoyed a new lease of life when the production was filmed and shown in cinemas up and down the country. Maybe it will eventually also get a DVD release. It has always been one of my favourite Sondheim shows, though its rather cynical message found little favour among audiences when it was first produced back in 1981, when it ran for 44 previews and only 16 performances. At least Maria Friedman’s debut production for the Menier Theatre did a lot better than that. Given a slightly more upbeat twist by Friedman and via a few deft re-writes by Sondheim, and with some fabulous performances (particularly Jenna Russell as Mary and Damian Humbley as Charlie) this was a sure-fire hit.

    Not to be missed was Jamie Lloyd’s revival of Alexi Kayle Campbell’s superb The Pride at the Trafalgar Studios. This superb play that juxtaposes two parallel love stories, one from the 1950s and one from today, deftly reminds us that prejudice is still here, despite the strides we have made in recent years. With fantastic performances all round, this was an extremely memorable night in the theatre.

    Still running (though the Apollo has been closed for a while after part of the ceiling collapsed a couple of weeks ago) is the National Theatre’s production of The Curious Incident of the Dog in the Night-Time. Wonderfully inventive, superbly theatrical, this adaptation of Mark Haddon’s popular novel will no doubt run for years. We were fortunate enough to book our tickets a few days before the production won no less than 7 Olivier awards, as it sold out completely after that. I’m sure it’ll be around for quite a while yet though.

    Andrew Lloyd Webber and Time Rice are back in the West End this year, though not working together this time. Lloyd Webber ‘s new musical Stephen Ward is at present previewing and Time Rice’s musical version of From Here To Eternity (with music by Stuart Brayson) opened at the Shaftesbury Theatre in October. In many ways a reassuringly old-fashioned musical (it is not sung through and has a very strong libretto by Bill Oakes), it is a thoroughly enjoyable, brilliantly conceived and executed new show. Let’s hope it has a deservedly long run.

    In the cinema, I got the chance to review HBO’s Behind The Candelabra, made for TV, but here given a theatre release. Stephen Soderbegh’s direction is not always sure-footed, and the film drags a little in the middle, which might be less noticeable in the context of a TV movie. He does however, get wonderful performances out of his all-star cast. Aside from Rob Lowe’s brilliantly immobile plastic surgeon, there are some great cameos from Dan Ackroyd, Scott Bakula and Debbie Reynolds (remember her?), but the movie succeeds or fails on the work of its two stars, and both Michael Douglas and Matt Damon give faultless performances. Damon is thoroughly believable as the star-struck young innocent who gradually descends into drug addiction, and Michael Douglas quite simply gives one of the best performances of his career. It would have been so easy, and so tempting, to overplay the role and come up with a clownish caricature, but Douglas completely avoids that trap, and comes up with a performance of great subtlety, which deservedly won him an Emmy Award.

    I didn’t review I Want Your Love which was granted a limited cinema release in the UK. Given the amount of explicit sex in the film, this is hardly surprising. Like Shortbus before it, director Travis Matthews breaks new bounds in how to present sex on the screen. The sex, and there is a lot of it, is real, and we get to see everything; blow jobs, penetration, cum shots, the lot. What makes it different from your bog standard porn movie is that this features real actors, and very good ones at that, pushing the boundaries of what they will do on screen in the context of a role. The sex scenes are handled rather differently than they would be in a porno, and much more sensitively; the connection between the actors, the reactions on their faces rather more important than the sex itself, though the camera doesn’t shy away from that either. There’s not a lot of plot, so it certainly doesn’t keep you on the edge of the seat wondering what will happen next. It’s one of those movies in which people spend a lot of time talking to each other; about their feelings, about their relationships, about work. I found it totally immersing and involving.

    Though I understand that many will not respond to I Want Your Love as I did, I do recommend unreservedly David France’s masterly documentary How To Survive A Plague. This remarkable movie tells the story of a small group of men and women in America, most of them HIV positive, who battled against government indifference and departmental incompetence, to save their own lives. In so doing they helped save the lives of 6,000,000. Gripping, moving, inspiring, at times emotionally draining, it is a story that demands to be told. Required viewing for every gay man, particularly those under the age of 30.

    And finally to a great piece of television, shown just this last month on BBC4. Don’t Ever Wipe Tears Without Gloves, is an award-winning Swedish three parter, based on novelist Jonas Gardell’s trilogy about the impact of AIDS on the gay community in Sweden in the early 1980s. Subtly and sensitively acted, and beautifully filmed, this was great television, the last of its three episodes almost unbearably moving, so much so that I watched it through a film of tears. If you missed its network TV showing, then do not hesitate to buy it on DVD, but make sure you have a box of tissues at the ready.

  • THEATRE REVIEW | Lady Rizo, At Soho Theatre, London

    ★★★★ | Lady Rizo, At Soho Theatre, London

    We are so lucky to live in London. The sheer range of entertainment this city offers is absolutely astonishing. On any given night, we are offered a bewildering array of choices, opera, ballet, theatre, whether it be mainstream or fringe.

    There really is something for everyone. It is surely the sheer richness of London’s cultural life that attracts artists from all over the world here. So it is that self-styled New York entertainer, dream maker, chanteuse and superstar Lady Rizo is visiting London to take up residency in the Soho Theatre’s intimate downstairs cabaret space until January 4th.

    Taking in a wide range of material, Lady Rizo lends her powerhouse vocals to such classics as Cole Porter’s “Love For Sale” and the seasonal “The Christmas Song”, as well as contributing some of her own songs from her own album “Violet”. With a nod to the festive season, she even puts her inimitable stamp on a bluesy rendition of Adolphe Adam’s “O Holy Night.”

    Elegant, but engagingly wacky, she jokes with the audience between songs, at one point stuffing most of her fist into her mouth as she peels off her gloves in a comedy strip routine, though, like Rita Hayworth’s Gilda, the gloves are all that come off. Mid-way through the show, she entices an audience member on stage and gets him to help her change her dress behind a back lit screen, whilst he tells her the story of how he lost his virginity. It’s that kind of show. We soon feel like old friends. By the end of it, she has the audience eating out of her hand, and singing along with The Bee Gees’ “To Love Somebody”.

    Big on personality, big on voice, this is one lady you shouldn’t miss, but get there early, or, even better, book, Tuesday’s performance was completely sold out.

    Lady Rizo is at the Soho Theatre Downstairs until January 4th 2014

  • TV REVIEW | Don’t Ever Wipe Tears Without Gloves

    TV REVIEW | Don’t Ever Wipe Tears Without Gloves

    ★★★★★  Don’t Ever Wipe Tears Without Gloves | A man lies dying alone in a solitary hospital room. Two nurses, wearing protective clothing from head to foot are dressing his sores and wounds.

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  • THEATRE REVIEW | Boylexe, The Shadow Lounge, London

    ★★★ | Boylexe, The Shadow Lounge, London

    Last Friday, the Shadow Lounge in Soho, paid host to the boylesque show, Boylexe, which the company performed to a packed house of rowdy guys and gals, clearly in the mood for a fun night out. In the event, I’m not sure they got quite what they expected.

    According to one of its performers, Phil Ingud, Boylexe is “a great night out filled with cabaret, stripping and touching stories… and a LOT of flesh!” which I suppose describes it pretty well. When I asked him how the show would differ from strip shows like The Chippendales and Dreamboys, he talks about the art of burlesque being different, less sexual, more about teasing and titillating, with no full frontal nudity.

    So far, so good. Only I felt that none of the routines we saw at the Shadow Lounge on Friday night were titillating enough. Clothes were divested much too quickly and there was no real sense of teasing the audience with the possibility that they might catch a glimpse of someone’s naughty bits. Not that we need to see them, of course, but there should always be the prospect, the possibility. That is what titillating means.
    A mixture of stripping and monologues, the show didn’t seem to know quite where it was pitching itself. MC, Alp Haydar presides over proceedings with an energy and enthusiasm, which manages to be both naughty and disarming at the same time, and the audience really responded to him, but this in itself caused problems, meaning that when Phil Ingut delivered his monologue about HIV, it was greeted with a rather uncomfortable silence. Maybe that was the intention. If so, it wasn’t made clear enough. Other monologues were less memorable and the strip routines, such as they were, did at least come as a welcome relief.

    We got a whiff of the circus or music hall with the entertaining strong man routines by The Mighty Moustache (aka Sir Alexander Leopold), and there was a clever reverse strip by drag queen Mr Mistress, who defiantly takes to the stage naked and drags up before our eyes.

    The line-up is never quite the same from show to show, and this Friday (December 6th), they will be joined by Nick Stiletto, who, I am told, delivers routines that are cheeky and fun, with a deft use of props, which is certainly more in the true spirit of burlesque.

    As it is, it is a somewhat uneven evening. There is the potential for a great night out, but it needs to have a clearer idea of what it is trying to achieve. According to the strippers in Jule Styne’s “Gypsy”,

    You can sacrifice your saccro
    Working in the back row.
    Bump in a dump till you’re dead.
    Kid, you gotta have a gimmick
    If you wanna get ahead.

    Maybe it’s gimmicks that are lacking.

    Boylexe plays at the Shadow Lounge on Fridays throughout December.

  • THEATRE REVIEW | From Morning To Midnight

    ★★★ | From Morning To Midnight

    “For those who like that sort of thing, that is the sort of thing they like.” I felt rather like Miss Jean Brodie after seeing From Morning to Midnight at the Lyttleton Theatre last night. Evidently there were plenty around me who liked the play rather more than I did. Well, to be honest, I didn’t like it at all.

    Admittedly we were not seeing it under the best of circumstances. Adam Godley, who was playing the central character of the Clerk had been taken ill, and his role was taken by understudy Jack Tarlton. Under the circumstances, Tarlton did a sterling job, but nobody can deny the debilitating effect of having to go on with an understudy so early in the run, and before the production had had a chance to settle down. One applauds Tarlton’s achievement, whilst duly noting that the balance of the whole can’t help but have been upset.

    From Morning to Midnight is a German expressionist play, written in 1912 by Georg Kaiser, and initially banned for its portrayal of the Kaiser. The action unfolds over a single day, on which the clerk breaks with normality, absconds from the bank he works in with 60,000 marks and goes in search of something to make life worth living. The loosely linked scenes are given titles: Machine, Bourgeoisie, Epiphany, Family, Society, Sex and Salvation, but, unsurprisingly, his search is fruitless.

    This is the theatre of ideas. None of the characters have names and all, even the clerk himself, are no more than ciphers, representatives of types; an Italian lady, a bank manager a society gent, mother, wife, daughter etc. Even the clerk is not a fully developed character, more of a catalyst for the events that unfold.

    Production values, as so often at the National are consistently high, with ingenious sets by Soutra Gilmour. Director Melly Still has a firm grasp of her material, helped by some wonderful choreography from movement director Al Nedjari, but I remained uninterested and uninvolved. No doubt others will enjoy it more than I did.

    From Morning To Midnight plays at the Lyttleton Theatre until January 26th 2014

    http://www.nationaltheatre.org.uk

  • FILM REVIEW | How To Survive A Plague

    ★★★★★ | How To Survive A Plague

    “Never has so much been owed by so many to so few.” These are the words of Sir Winston Churchill, referring to the efforts of the Royal Air Force pilots fighting the Battle of Britain in 1940, but they are also the words that sprang into my mind after watching David France’s brilliant documentary How To Survive A Plague.

    It tells the story of a small group of men and women, most of them HIV positive, who battled against government indifference and departmental incompetence, to save their own lives. In so doing they helped save the lives of 6.000,000.

    This is a great piece of film-making that documents the courage and determination of these people in the face of appalling obstacles from a government that couldn’t give a damn. The overriding message from the Reagan, and then the Bush administration, was that gay people didn’t matter, that AIDS was a result of bad lifestyle choices, and that we deserved it.

    Using archive footage, we are given stark reminders of the shock tactics they used to bring their plight to the attention of the world, culminating in the display of the 8,288 panels of the AIDS quilt in 1988, and the march on the White House, when relatives and lovers of the dead scattered the ashes of their loved ones onto the White House lawn. These were the days when funeral parlours refused the bodies of people who had died of AIDS, when hospital security guards barred AIDS patients from entering emergency wards.

    Dark times indeed, chillingly brought to life again in the newsreel footage we see in this movie. But anger alone was not going to be enough to win the battle. We learn how these activists became scientists, taking on an intense study of virology, immunology, pharmacology and cellular biology in an attempt to help direct the global research effort.

    Sadly, not all of the activists lived long enough to see the fruits of their labour; to see AIDS (or HIV) become a manageable condition, as it is today. Of those that did, the charismatic Peter Staley emerges as the undoubted star. Given just 18 months to live at the age of 26, he is galvanised into fighting for his life, and there is no doubt that his eloquence (not to mention his youthful good looks) helped spearhead the campaign.

    David France tells this story clearly and unflinchingly, putting us right at the heart of the battle, the occasional heartbreak at failure and the euphoria surrounding success; even the internal rifts and skirmishes. Gripping, moving, inspiring, at times emotionally draining, it is a story that demands to be told. Required viewing for every gay man, particularly those under the age of 30, I recommend it absolutely. We owe our lives to these people. Surely the rest of us can spare them 110 minutes of our time.

     

    Available to buy / view on: Amazon | Amazon Prime |

  • COLUMN | It’s okay to be different, isn’t it?

    My school days are such a long time ago now that I barely remember them, or is it that I just blotted them out?

    They seem to belong to a different person who has absolutely nothing to do with the person I am now. I had no idea I would turn out to be gay, though anyone with half a brain could probably have figured it out. I was dancing (in my pram) before I could walk, singing perfectly in tune before I had the slightest idea what I was singing about (all lyrics reduced to lalala), and my favourite films were those involving plenty of song and dance, Fred and Ginger in particular. From an early age, all I wanted to do was dance.

    This always singled me out as being a little different, but my earliest days at primary school were surprisingly happy. It was a mixed school and the other boys didn’t seem to mind that I preferred hanging out with the girls and not playing football with them. Well, they probably reasoned, at least they were spared having to pick me to be in their team. My school was in the middle of a highly middle class part of my home town, and the other pupils all came from the same area. Our parents all knew each other. It was a safe and cosy environment. Even so, though I don’t ever remember feeling physically threatened at my primary school, I had to learn to toss off the occasional jibes about being a sissy and a big girl. However in my last year or two, when I was sitting my eleven plus and preparing to go either to an all-boys Grammar School if I passed, or an all-boys Public School if I didn’t, I started to be picked on that bit more. School was not the fun place it had been when I was younger.

    I had been taking tap dancing lessons since I was five and would constantly sail through my various exams. Dancing was not a boy’s pursuit though. The penny dropped when I looked around at one of the annual dance school displays and realised I was the only boy on stage. That was probably behind my decision to give up dancing lessons. l My dancing teacher, a friend of the family whom I knew as Auntie Joy, was pressing my mother and father to get me to start ballet. She had been a professional ballet dancer herself and an Honours Associate of the Royal Academy of Dance. She thought that, physically, I had the perfect proportions to be a ballet dancer. However, no amount of cajoling on the part of my parents was to make me change my mind. I had decided that there was no way I was going to be going to ballet class when I got to my next school, and, it has to be admitted, my parents didn’t try that hard to persuade me otherwise. It had been bad enough been singled out for going to tap dancing lessons. I was hardly going to make things worse for myself by doing ballet.

    Secondary school (the local grammar) was to prove a terrible culture shock. It was my first exposure to boys from the other side of town, boys who were bright enough to pass their eleven plus, some of whom lived on council estates, and who had built up their own set of tools to deal with the harsher environment they came from. Grammar School was pretty egalitarian in that respect. Boys attending came from all over the town, not one single catchment area. No doubt to many of them, it appeared I had a privileged existence, and in some ways I had. We holidayed in Greece (staying with my grandparents there) when air travel was only for the rich; my father ran his own business and drove a Jaguar. This was enough to single me out, but it probably didn’t help that, though I no longer went to dance classes, I maintained a keen interest in theatre and dance, and would often participate in local operatic society productions, for which my father was musical director. No doubt, all this would have been forgotten if I’d been a keen football player or rugby player, but I had absolutely no interest in sport.

    At primary school I had made friends with all the girls. Here there were no girls. I found it hard to make friends and I became an easy target. Nobody actually called me gay (well the word didn’t exist back then), but I was called a sissy and a poof, without any of us really understanding what that meant. You have to remember homosexuality was illegal in those days. There was no way I was going to admit to myself, let alone anyone else, that I was gay, and I still assumed that I would meet a girl, get married and have children. I knew virtually nothing about sex. Children were much more innocent in those days. Still the other boys sensed I was different, and this is what separated me from them.

    I wasn’t the only boy to be bullied and ostracised though. There were others, who found it harder to get on than me, and I briefly befriended some of them, though ignominiously dumped them when I realised that being friends with them was doing me no good whatsoever. I remember one boy committed suicide while I was there. He was an odd, skinny, intellectual boy, with National Health glasses held together with Elastoplast, evidently from a poor family. Nobody would have anything to do with him, and even the teachers teased him. When he died, there was an announcement in assembly, but the whole sorry business was glossed over. There was never any attempt to tackle bullying in the school, and, truth to tell, the teachers often colluded in it, the idea being that a certain amount of bullying was good for the softer kids, that it was character building.

    My elder brother had gone to the same school 4 years before me, and, though we fought like cat and dog at home, he was to prove to be my protector in my early years at Grammar school. He couldn’t be there all the time of course, but at least I had his protection on the walk home from school, and more than once he turned on boys who were calling me names. I don’t know how I’d have coped without him. I wouldn’t have known how to fight back and, other than my brother, my only defence was speed. I could outrun most of the boys in my year, a fact that was first brought home to me on the day we had some athletics tests. To the amazement of all the other boys, who had assumed all sissy boys were useless at sport, I came first in my year in the 100 and 220 (yards, not metres in those days) and also tested well in the long jump. My games master encouraged me to join the athletics team, but I flatly refused, not because I didn’t enjoy running and jumping, but because I didn’t want to spend any more time than I had to with boys who bullied and threatened me. So, for the second time, I didn’t do something I was good at out of fear, out of fear for what the other boys would do to me. I had earned a somewhat grudging respect because I could run, so the physical bullying stopped, but the verbal jibes continued. I was a sensitive child and it hurt. It’s taken me a long time to learn to ignore people who seek to hurt with words. Indeed the scars can take a lifetime to heal.

    The only place I felt safe was in music classes, and my viola teacher, who knew how horrific games lessons were for me, ended up programming my viola lessons at the same time as the games periods, telling the headmaster there were no other slots available. I was eternally grateful to him. A kind, gentle, quietly spoken man, with weirdly wax like hands and fingers, I have no doubt that, though married, he was gay, not that I knew or guessed that at the time, but looking back, it seems plausible enough. I’m sure he recognised a kindred spirit. Still, in a more accepting environment, maybe I would not have accepted his offer of programming my viola classes so I could skip games. I admit I rather regret not participating in sport at school now. To this day, I feel a mild sense of panic when someone throws a ball at me, or puts a bat in my hand. I feel I’ve missed out.

    When my brother went to university, I had to find a way to survive without him. I did so by if not actually mixing with the bad boys in school, by allying myself with them.I started smoking, let it be believed that I had a string of girlfriends. I’d buy girlie magazines like Mayfair, and make sure the other boys got to see them, though, in all honesty, nothing in their pages really did much for me. Still, they had the desired effect. I started bunking off school too. Suddenly I was cool and the bullying stopped.

    But of course I wasn’t cool. My schoolwork started to suffer. Much to the mortification of my parents, I was hauled up in front of the headmaster on more than one occasion. Though I managed to pass 6 out of 7 of my ‘O’ levels (we took a maximum of 7 in those days), I didn’t get the grades I should have done. I went from being one of the top three boys in my class to one of the bottom few. My ‘A’ level results were even worse, and I ended up having to go to a college to re-study and re-sit my English and French, in an attempt to improve my grades.

    I suppose I was luckier than many. I never actually got beaten up (because I could runs so fast), and most of what I had to deal with was just words. Just words? I remember shouting back at my tormentors, “Sticks and stones can hurt my bones, but words can never hurt me.” But it wasn’t true. Words can and do hurt. They hurt me; both emotionally at the time and also in stopping me doing things I was good at and should have enjoyed. I don’t know if I’d ever have been a great ballet dancer or a great sprinter, but the point is I never got to find out, nor did I find my true academic potential. Hell-bent on survival, education was all but forgotten. How many other young people are not doing well at school because of bullying and peer pressure? I have no doubt it is thousands. We hear of the tragic cases, of those , like that young boy at my school, who are driven to take their own lives, and that one young person should feel death is the only way out is reason enough to ensure we, as adults, do everything in our power to stop another child taking their own life. We should also be considering the wider implications of children not reaching their full potential because of the way they are treated by their peers at school. Children feel that they need to fit in, and respond easily to peer pressure. What we need to do is celebrate diversity. We still live in a culture where the boy who is good at football is going to be feted and revered, whilst the boy who is good at ballet is more likely to be ridiculed and called names. We need to tell children that you can be different and still fit in, but until we can celebrate diversity in the adult world, how can we hope to make things better for children?

    Today is Stand Up day. Make sure you stand up against bullying.

  • REVIEW: The Massage Show

    As this month is Pleasure and Pain month at TheGayUK, I thought I’d return to a theme that is rather dear to my heart. As many of you will know, I practice tantric massage, which is something that very much comes under the umbrella of pleasure. The Massage Show is the brainchild of sex and relationship expert, and sensual masseur Colin Richards, and a few days ago I was fortunate enough to be invited along to experience one of his shows.

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  • THEATRE REVIEW | Bourgeois And Maurice At The Soho Theatre

    You know those occasions when you meet your mates in town for a drink after work. It gets to about 9 and you think it might be nice to round off the evening in some way.

    Well instead of heading to your local kebab house, why not nip down to the Soho Theatre for a bit of cabaret, where you can catch one of the final performances of Sugartits, by the award-winning duo Bourgeois and Maurice? It would be a great way to round off a convivial evening with friends.

    And convivial, for the most part, is what this cabaret is. The duo delivers a selection of self-penned songs, covering a range of contemporary topics, such as tax, internet junkies and the homogenisation of our town centres (an “improvised” song about Birmingham could be about any town in the UK, which is actually the point). However, though engaging and entertaining, it’s not quite as hard hitting as they’d like to think, pandering, as it does, to middle-class Liberal sensibilities. I felt it could have done with a set of sharper teeth.

    That said, I could hardly fault the performances of the duo, who are the perfect foil for each other. Bourgeois, looking rather like a cross between the Divine David and the MC from Cabare, (I loved the Putin decorated jumpsuit he changed into half way through) delivers his songs and linking dialogue with a sardonically laconic wit, whilst Maurice, sporting a 60’s beehive, which would be the envy of Marge Simpson, has an engaging goofiness, and a rare talent at the keyboard. I particularly enjoyed her surreal attempt to tell a joke, in the manner of Michael McIntyre.

    Certainly, worth a trip, you can catch the show at the Soho Theatre Downstairs until September 21st.