Author: Paul Szabo

  • 8 totally annoying things you’re doing in the theatre

    8 totally annoying things you’re doing in the theatre

    Here in the UK, we are privileged to have a vast array of such wonderful theatres. We have the bright lights of the West End with its huge productions and international box office smashes, the incredible array of regional theatres producing their own very high quality shows and providing venues for wonderful touring productions and those little community theatres which provide immense pleasure for those both performing and viewing the amateur productions and the more off-beat shows.

    So, given the gift of theatre that we are given, is it really so hard for people to behave in a manner befitting? I have increasingly noted that theatre etiquette is sadly lacking, which is a shame when you have paid a not insignificant amount of money for your ticket, only to have the joys of watching a live performance tainted by the severely lacking social skills of those around you. Only last night at the theatre, I had to engage in my now regular pastime of telling audience members around me to please be quiet. I am quickly developing into a habitual “shush-er”, when really, I shouldn’t have to engage in such a disruptive and unpleasant activity.

    So, following a frustrating evening listening to the old woman three seats down talk about how her neighbour had slipped a disc (yes, really – this was an actual discussion taking place during the performance) and listening to the guy two rows behind singing along with every musical number, I have written this cut out and keep guide to theatre etiquette. There are seven simple steps to take to ensure that everyone has a pleasant evening.

    Rule 1 – Keep it buttoned. There is absolutely no need to talk during the play or show. If you want to have a night out with your friends and have a good old chin-wag, then instead of spending £35 each on a theatre ticket, spend it on booze in a pub, where you can chat away to your heart’s content.

    Rule 2 – Keep it in your pocket. There is a reason why, at the start of every performance, there is a request to turn off your mobile phone. Even if it is on silent, it doesn’t prevent you from annoying the people around you by checking your Facebook, twitter, emails or texts every five minutes. Seriously, if you cannot live for two hours (or even an hour if you know that the interval is coming up) without checking whether your friend’s status has changed or to see if someone has posted a hilarious picture of a kitten in a wine glass, then you either need to stay in your home indefinitely or obtain some therapeutic intervention.

    Rule 3 – Keep ‘em still. Tapping your feet to the musical numbers is a terrific compliment to the composer, but there is no need to use your feet to rhythmically tap out each bar to the song on the seat in front of you, much to the annoyance of the theatre goer occupying your impromptu percussion instrument. Equally, there is no need to announce to the four rows around you that “Oh…I like this one”, when the opening bar of a song is played.

    Rule 4 – Keep your vocal chords in check. Just because you think you sound great singing along to your Grease soundtrack CD in the shower doesn’t mean that you can undertake an encore performance in the middle of the theatre. People have come to hear the performers sing, not listen to your out of tune caterwauling. So, you know some of the words to the songs – well done – but please don’t feel the need to demonstrate your lyrical knowledge.

    Rule 5 – Keep it real. Just because you once performed in an amateur production of Sweeny Todd, it doesn’t mean that you have to recite the script with the actors on stage, tell your companion how your scenes were done differently to the ones on the stage or hum along to the music. Also, just because it is an amateur production and you have only paid a few quid for your ticket; it does not negate the need to be respectful to those around you. Equally, with amateur productions, just because you vaguely know one of the cast members because she is your next door neighbour’s best friend’s babysitter’s dog walker doesn’t give you the right to talk all the way through the show.

    Rule 6 – Keep it on time. It’s not that difficult to get somewhere on time. If the show starts at 7.15pm, then aim to get to theatre for 7pm. Distracting the audience by making a kerfuffle arriving late and disrupting an entire row of people to get to your seats in the middle of the row halfway through the opening number is very off-putting.

    Rule 7 – Keep it in the seat. Leaning forward in your seat, especially in the Balcony, simply blocks the view of the person behind you. That leads to them having to lean forward, blocking the view of the person behind them…. and like ripples on the surface of a pond caused by a stone being casually tossed into the still water, the effect spreads out until the majority of people have a blocked view. Also, if you are tall, as I am, be mindful of the person behind you. It doesn’t hurt to sit a little lower in your seat. After all, no one has come to the theatre to see a performance by the back of your head.

    Rule 8 – Don’t have a top bun…

    It’s not hard, is it? Please note that the majority of this guide applies equally to the cinema as well.

    Joking aside, it is a case of common courtesy both to the performers on stage and those around you. I know an increasing number of theatre goers who share my frustrations. The thing is, everyone’s experience is enhanced by a little courtesy and those who chat their way through the show may actually find they enjoy it even more if they actually sit and watch it, instead of tweeting, emailing, and texting before engaging in a four minute conversation by asking their companion what they have just missed!

  • Four gay plays to look out for this spring 2017

    Four gay plays to look out for this spring 2017

    As the spring theatre season starts to gather momentum, there are some great gay-themed plays in and around the UK. Here are four plays to keep an eye out for.

    Everyone’s Talking About Jamie – Crucible Theatre, Sheffield.

    Jamie New is sixteen. He’s from Sheffield. And he has a secret. He doesn’t quite fit in at school. His Dad’s left home. He’s about to sit his GCSEs. The future is terrifying. With his brilliant mum behind him, will Jamie be brave enough to stand up for who he really wants to be? A coming-of-age story with a twist, with catchy new songs by lead singer-songwriter of The Feeling Dan Gillespie Sells and writer Tom MacRae (Doctor Who), this brand new musical will have everybody talking about Jamie for years to come. Based on the BBC3 documentary, Jamie – Drag Queen at Sixteen, the world premiere of this new musical runs at Sheffield Theatres from the 9th – 25th February 2017. Visit www.sheffieldtheatres.co.uk for details and listen to the first song from the show below.

    https://soundcloud.com/user-872483887/dont-even-know-it-featuring-betty-boo

     

    Gypsy Queen – Doncaster CAST and National Tour

    Photo Credit: PR Supplied

    Written, in part, as a response to Tyson Fury’s comments that “there are only three things that need to be accomplished before the devil comes home and one of them is homosexuality being legal.”; this play tells the tale of The Gypsy King, a boxer who leaves his travelling community roots behind him to pursue his career. “Gorgeous” George O’Connell is taken on by a professional boxing coach, whose own son Dane ‘The Pain’ Samson is openly gay, and as they train together, George learn much more about himself that he ever thought he would. But Dane is fighting his own battles that lead to a tragedy that neither could predict. Set in the testosterone-fuelled world of boxing, this play looks at what happens in the traditionally masculine world of the sport when everything about someone’s culture and identity are confronted by their greatest fear. This play contains strong language, full frontal nudity and scenes of a sexual nature. Gypsy Queen plays at Doncaster CAST Theatre on the 12th April 2017 (www.castindoncaster.com ) and national tour.

    La Cage Aux Folles – Leeds Grand Theatre and National Tour.

    Photo Credit: PR Supplied by Leeds Grand Theatre

    Georges is the manager of a Saint Tropez nightclub, his partner Albin is a drag artiste and the club’s star attraction. They live an idyllic existence in the south of France until Georges’ son Jean-Michel announces his engagement to the daughter of a notorious right-wing politician; a politician who is determined to close down the local colourful night-life. This lavishly funny tale follows the gay couple desperately trying to “play it straight” as the families meet; and celebrates unconditional love, family values  and that life’s not worth a damn ‘till you can say I am what I am.’ Better known to many as “The Birdcage”, this 1983 classic musical is embarking on its first ever national tour, and stars John Partridge (Eastenders), and West End leading lady Marti Webb. La Cage Aux Folles is at Leeds Grand from the 20th to the 25th March 2017 (www.leedsgrandtheatre.com), as part of its current national tour (http://www.kenwright.com/microsite/la-cage-aux-folles/ )

    Miss Meena and the Masala Queens – West Yorkshire Playhouse and National Tour.

    Credit – PR Supplied

    Dazzling saris, grand Bollywood lip-sync dance numbers and queues of adoring fans – for Miss Meena this is all now a distant memory. The once famous and fabulous drag queen has lost his sparkle and like his nightclub is washed up and out of date. The punters have gone and whilst the other drag queens are strutting their high-heels elsewhere, property developers are circling like vultures waiting for Miss Meena to give up the lease to the club. With the club on its knees, a new arrival brings a glittery rainbow of hope. But just as things are starting to look up for Miss Meena, a visitor from the past makes him question everything he ever stood for. This new production promised to be fun, vivacious and heart-warming. Ms Meena and the Masala Queens is at West Yorkshire Playhouse from the 13th to the 17th June 2017 (www.wyp.org.uk ) as part of its national tour. Visit http://rifcoarts.com/shows/miss-meena-the-masala-queens for details.

     

     

  • THEATRE REVIEW | Sister Act – Sheffield Theatres and National Tour

    THEATRE REVIEW | Sister Act – Sheffield Theatres and National Tour

    ★★★| When 70’s disco lounge singer Deloris Van Cartier witnesses Curtis, her married, crime-boss lover, murdering one of his cohorts; she is placed in witness protection in the last place on earth anyone would look for such a sassy little lady – a convent. Trying desperately to fit in, whilst doing nothing but standing out, she is assigned to take over the choir, whose screeching vocals are enough to curl your wimple. But as the singer tunes up the choir, Curits finds out where Deloris is, and sets out to make sure she doesn’t testify against him.

    Picture Credit – Curve Theatre PR Supplied

     

    Featuring the songs “Raise Your Voice”, “Take Me To Heaven”, “Fabulous Baby” and “Spread the Love Around”, Sister Act is a fun, spirited and vivacious show with very catchy songs, warm characters and a spring in its step. With a large, static set and a vibrant lighting design by Liam Jones, the production is bolstered by the presence of Alexandra Burke who, to her credit, could certainly belt out the big numbers. There was some very able (and tuneful) support from Joe Vetch as Detective “Sweaty” Eddie Souther, and a real smooth criminal in Aaron Lee Lambert as Curtis, the Shaft influenced, soul styled bad guy. Throw into the mix some enjoyable physical comedy from Curtis’s cronies, and you have the basis of a good show.

    But with every heavenly blessing, there are some sins to atone for, as Craig Revel Horwood’s direction doesn’t quite hit its stride, with a heavy reliance on over-exaggeration of movement and gurning facial expressions; which meant that instead of the comedy flowing naturally from the effervescent script, it felt somewhat forced. The inclusion of musical instruments being played by the cast on stage worked in parts, but served as a distraction in others; and felt as though it stifled the choreography, which is a shame given the directors “Strictly” credentials. But once confession is over, all is forgiven as the show yields to its musical-number-filled second act and feel-good finale.

    Sister Act is a high energy bundle of fun, and whilst this production and ensemble cast doesn’t sparkle quite as brightly as other productions of this show, it has enough big tunes, bold characters and beating heart to make for an toe-tapping, if ultimately throwaway, evening at the theatre.

    Sister Act is currently on a UK Tour until 7th September 2017 and details can be found at http://www.sisteractuktour.co.uk/ . The show was reviewed at Sheffield Theatres, who’s upcoming production of new musical “Everyone’s Talking About Jamie” opens on the 9th February 2017. Visit https://www.sheffieldtheatres.co.uk/whats-on/everybodystalking-jamie for details.

     

  • 20 things you know if you were gay boy from the 80s

    20 things you know if you were gay boy from the 80s

    Ahh, the 1980’s….

    20 things you know if you're a gay boy from the 80s

    1. When Harrison Ford appeared as Indiana Jones and elevated archaeology to the sexiest profession known to man.

    2. When the government passed Clause 28 of the Local Government Act 1988 which made it illegal for any Local Authority to “intentionally promote homosexuality or publish material with the intention of promoting homosexuality” or “promote the teaching in any maintained school of the acceptability of homosexuality as a pretended family relationship”. It was only repealed in 2003.

    3. When Madonna arrived, and although her first single, “Holiday”, was released in 1983, it wasn’t until 1984, with her second album, Like A Virgin, that she really blew the gay boy’s minds, cavorting around in Venice and having diamonds thrown at her whilst dressed up like Marylyn. She has been a gay icon ever since.

    4. When Colin and Barry had a kiss on Eastenders, making it the first UK soap opera to feature a gay kiss and sending the media into a frenzy with no more than a quick peck between the two men.

    5. When Boy George appeared on Top of the Pops, causing fathers in their living rooms to tut in disgust, and school children to debate in schoolyards up and down the country the following day as to whether the singer was a boy or a girl.

    Embed from Getty Images

    6. When the “AIDS – Don’t Die of Ignorance” campaign meant that as the reality of AIDS took hold; the Government terrified everyone with their now infamous campaign. The “gay plague”, as it was called by the media, had started to hit home.

    7. When Bronski Beat hit the charts with “Smalltown Boy”, about a young gay man running away from home to hide his sexuality, and gay musicians came onto the pop charts, including Erasure, Culture Club and Mark Almond.

    8. When the New Romantic music movement meant that it was ok for guys to wear eyeliner, pixie boots and use a can of hairspray on their hair every night.

    9. When the age of consent for the gay community was 21 years of age, whilst heterosexual couples could consent to sex at 16.

    10. When Larry Grayson was the campest thing on Saturday evening television, with his innuendo-filled humour and his famous “shut that door” catchphrase.

    11. When Princess Diana and Prince Charles got married; and there wasn’t a gay dry eye in the house. Even before she broke down prejudice by visiting HIV and AIDs patients (amongst her many other charitable causes), she was always adored by the gays.

    Embed from Getty Images

    12. When Stonewall was founded in 1989, which grew out of a small number of people, including Sir Ian McKellan, who had been campaigning against Clause 28. The green shoots of progress were starting to appear towards the end of the 1980’s and Stonewall’s arrival heralded a more public struggle.

    13. When Friday night simply wouldn’t be complete without watching The Golden Girls. “Thank You For Being A Friend”, went the theme song, and Dorothy, Rose, Blanche and Sophia were friends to us all.

    14. When Frankie Goes To Hollywood were banned from Top of the Pops and Radio One after releasing “Relax”. The band misbehaved themselves in a rather suggestive video to accompany the song, which got Radio One DJ Mike Reid all upset and Auntie Beeb’s knickers in a twist. The single shot to number one in the charts.

    15. When after-school cartoons were full of hunks, whether it was He-Man flexing his muscles, Hank the blond haired, handsome ranger from Dungeons and Dragons or Jason from Battle of the Planets, there was always someone to swoon at.

    16. When The Weather Girls gave us the ultimate weather forecast.

    17. When John Walters out-gayed himself with his movie, Hairspray; bringing together Divine, Rikki Lake and Deborah Harry into one huge ball of campness and a film about those who don’t quite fit in.

    18. When Scott and Charlene (aka Jason Donovan and Kylie Minogue) got married on Neighbours, doing so not only to the dulcet tones of Angry Anderson (not the most suitable name for a ballad singer) but to the delight of gays everywhere

    19. When La Cage aux Folles opened on Broadway, and spawned the hit “I Am What I Am”, which got the gays feet moving when it became a huge disco hit (and gay anthem) after being released by Gloria Gaynor.

    20. When Care Bears made the world just that little bit gayer.

  • THEATRE REVIEW | St Petersburg Classic Ballet’s Swan Lake – Sheffield Lyceum and National Tour

    THEATRE REVIEW | St Petersburg Classic Ballet’s Swan Lake – Sheffield Lyceum and National Tour

    ★★★| It is a tidal wave of tights, tutus and tiaras in this presentation of one of Tchaikovsky’s most famous ballets, performed in typical traditional style by the St Petersburg Classic Ballet. Telling the story of a Prince who finds his youth slipping away and being pressured into marriage, he meets and falls in love with Odette, Queen of the Swans, who is under a curse from which only true love can free her. But their love is thwarted by the evil Von Rothbart when he tricks the Prince into being betrothed to another. When the Prince realises he has been a victim of such cruel treachery, he battles to save Odette from her curse.

    PR Supplied

    In their second UK tour, Swan Lake proves to be a more entertaining and gentile evening than anticipated, with simple but effective sets, traditional costumes and an instantly recognisable score. The company, on the whole, performed well and the dancers individually were all very talented and quite natural in their performances. There is no denying the technical ability and suppleness of the cast, but when dancing as an ensemble, there were still some flaws in the performance including the odd stumble, the fixed smiles and, on occasions, the unison of the dancers not being as tight and synchronised as one would hope for and anticipate, especially from such a prestigious company

    That aside, the vivacious, playful and instantly recognisable score by Tchaikovsky sounded as vibrant as ever, and proved absorbing, especially during the first act. There were times when the ballet sparkled brightly, nowhere more evident than the sight of a sheer volume of swans and signets in the latter portion of the second act, which amounted to a fairly mesmerising vision. The tapestry based static set was functional and some of the costumes were beautifully put together. There was a romantic pas de deux in the latter half of the second act and the soloists portraying the potential suitors displaying their wares at the opening of Act 3 were quite captivating.

    For those seeking a traditionally presented ballet, then this version of Swan Lake is a safe bet and a pleasant evening’s entertainment, albeit one which is let down very slightly by a lack of unison within the performance on the odd occasions, which is a shame when compared to the tightly performed routines by other companies.

    However, there remain many aspects of the show to enjoy and it is an easy, accessible ballet which is more focussed on dance and performance than detailed narrative.

    The production was reviewed at Sheffield Theatres (www.sheffieldtheatres.co.uk) who will be premiering a new musical, Everyone’s Talking About Jamie, based on the BBC3 documentary Jamie: Drag Queen at 16 in February 2017

    St Petersburg Classic Ballet is touring the UK, calling at Poole Lighthouse, Truro Hall, Bath Theatre Royal and Aylesbury Waterside between now and the 4th February 2017.

     

  • THEATRE REVIEW | Strictly Ballroom – The Musical – West Yorkshire Playhouse, Leeds

    THEATRE REVIEW | Strictly Ballroom – The Musical – West Yorkshire Playhouse, Leeds

    ★★★★| Hunky dance champion, Scott Hastings throws the uptight world of the Australian Ballroom Federation into disarray when he strays from tradition and introduces his own steps onto the dance floor of the competition. Horrifying his mother, his coach, his friends and, most importantly, the federation’s chairman, his new moves ignite a spark in Fran, the dance school’s ugly duckling. As Scott rejects his potential new partners and routines, he secretly practices with Fran, falling in love as they do. But as they head to the Pan-Pacific Grand Prix Finals, not everything on the judging panel is ‘strictly ballroom’, and Scott is forced to choose between dancing from the approved moves and dancing from his heart.

    In 1992, Baz Luhrmann opened his Red Curtain Trilogy of films with this offbeat satire on the world of ballroom dancing and the film quickly garnered critical praise and cult status. The show has come full circle, moving from stage to screen and back to stage in a production which is wildly vivacious, colourful and as camp as they come. Featuring songs from the film along with a number of new musical numbers, the camp factor is ramped up to the max, with the whole thing swishing around in a swirl of sequins, feathers, 80’s pastel shades and deliberately dodgy wigs.

    Broadway veteran Sam Lips makes his UK theatre debut in the role of Scott, with his strengths primarily in his voice and his dancing; whilst Gemma Sutton relishes in a believable transformation from shy wall flower to leading lady, as Fran.  Richard Grieve steals every scene he is in with his portrayal of the flamboyant Les Kendall and there are brilliantly understated performances from Tasmin Carroll and Stephen Matthews as Scott’s parents. Flesh out the cast with an ensemble of excellent dancers, including a plethora of perfect pecs and bulging biceps and you have a top notch cast who are clearly enjoying themselves as much as the audience.

    The ingenious set design by Soutra Gilmour opened out into the key locations with remarkable versatility and comfortably accommodates Drew McOnie’s steady direction and thoroughly enjoyable choreography. The first act focuses primarily on the narrative, which never strays too far from the familiar film, whilst the second act opens up into a barrage of musical numbers which are unyielding from the opening number right up until the curtain falls, bringing the crown to their feet in thunderous approval.

    With Strictly Come Dancing riding high in the public consciousness, the UK premiere of Strictly Ballroom is well timed, and proves just as undemanding but far more enjoyable than its nearest television counterpart. Whilst underneath the glitz, glam and gayness of it all, there is a rather corny Pygmalion-eque love story, this is one evening at the theatre that is more about the joy of the journey rather than the destination. Cheesy, tongue in cheek and with a distinct flavour of both irony and homage to the art form, it’s a smile inducing spectacle, and one can only hope that a national tour will follow.

    Musicals really don’t come any gayer than this, and the show is a piece of unadulterated, joyous, feel-good theatre.

    Strictly Ballroom is currently playing at West Yorkshire Playhouse, Leeds until 21st January 2017. For tickets, further information and details of their new season, visit their website at www.wyp.org.uk or call the box office on 0113 213 7700

     

  • THEATRE REVIEW | The Shawshank Redemption – Sheffield Theatres and National Tour

    ★★| Andy Dufresne, a quiet and mild mannered banker, arrives at Shawshank Prison after being convicted for the murder of his wife and her lover. As he settles into his new life, he befriends old timer, Red, the prisoner fixer and a man who is known to “acquire certain items from time to time”.  Andy splits his time between maintaining his innocence, carving rocks, avoiding the violent “sisters” (a predatory gang of sexually violent inmates) and trying to improve the lives of those around him.  But when Andy overhears a conversation between two of the guards, he is provided with opportunity which he simply cannot pass up.

    Picture Credit – Mark Yeoman

     

    The Shawshank Redemption is based on the Stephen King novella, and the 1994 film of the same name. The film has gone on to become one of the nation’s favourites, and with this in mind, the stage show has some big prison-issue boots to fill. The static set is reflective of the prison setting, with its tall, oppressive walls towering over the proceedings; and it’s bland, dreary appearance is being quite befitting for the fictional prison.  In the book and the film, the story of Dufresne’s time in Shawshank is one which is filled with optimism and hope; and it is the contrast of that emotional warmth juxtaposed with the cold starkness of the confines of the prison walls which works so well.

    Paul Nicholls (Eastenders) leads the cast as Andy Dufresne, with TV stalwart Ben Onwukwe (Eastenders, London’s Burning, Coronation Street) playing Red, both of whom gave functional performances without ever really capturing the refinement of the two lead characters or their relationship. The remainder of the cast, sadly, seemed to replace acting with shouting, leading to some rather unsubtle performances; with only Jack Ellis in his portrayal of the Warden and Nicolas Banks as Tommy ever really finding their feet.

    Adapted by Owen O’Neill and Dave Johns, the script is choppy and never seems to gather momentum or develop into having any natural flow, with somewhat clunky transitions from one plot development to the next. Rather than allowing the drama to play out on stage, comedic moments are added to scenes of tension, which had the audience laughing when they should have been on the edge of their seats, lessoning the impact of the story and the events portrayed. Whilst the story does not shy away from the harsh reality of prison life, David Esbjornson’s direction is as bland as the prison walls and as heavy handed as the prison guards themselves, often leaving much to the imagination and hinting at the acts of violence rather than portraying them.

    The show is a bold attempt to bring to life something which is so well loved, but as much as it pains me to say it, the writing, acting and direction all had their own issues which meant that they never really came together; and whilst some of the audience clearly enjoyed the show, for me personally, it simply didn’t work.

    The Shawshank Redemption is currently winding up its national tour. The show was reviewed at Sheffield Theatres (www.sheffieldtheatres.co.uk ), who are soon hosting the world premiere of a new musical based on the BBC3 show “Jamie: Drag Queen at 16” Search #TalkingAboutJamie.

  • THEATRE REVIEW | The Commitments – Sheffield Theatres and National Tour

    ★★★ | Set in Dublin in 1986, The Commitments charts the rise and fall of an unlikely group of misfit musicians who are brought together by young music entrepreneur Jimmy Rabbitte. The hardest working soul band in Dublin start out as friends and skirt on the edge of greatness, but as egos clash, band members squabble, fights break out and passions get in the way, the backstage harmony couldn’t be more different from the harmonies on stage.

    Based on the novel by Roddy Doyle and building on the success of the 1991 film, The Commitments is a story of empowerment through music and of the hopes and aspirations of a group of youngsters trying to break away from the mid-eighties urban decay and from their dead end lives.  Adapted for the stage by Doyle himself, the show is on tour after a successful run in the West End; and with over 20 soul classics in the show, including “Mustang Sally”, “River Deep, Mountain High”, “Mr Pitiful” and “Try a Little Tenderness”, it’s a production that really does have soul music at its heart.

    “There is a story behind every song”, says Jimmy Rabbitt at one of the band’s rehearsals, but ironically this adaptation is fairly light on both plot and social commentary. The narrative skims the surface of the story of the band’s rise to the top and limits the development of the characters in exchange for lively performances of the songs that the audience clearly came to hear. The show, wisely, keeps the ballads to an absolute minimum, and instead employs a set-list of upbeat numbers, blasting open the show with an upbeat rendition of “Proud Mary” and maintaining the energy levels cranked up throughout the duration.

    There is an air of organised chaos to the proceedings, with enough raucous energy to help cover the slightly cumbersome scenery changes, and to keep the pace as enthusiastic as the young cast. There is plenty to like about those on stage. Andrew Linnie’s optimistic and happy-go-lucky portrayal of Jimmy Rabbitte is easy to warm to, whilst Brian Gilligan belts out the songs with aplomb as lead singer, Deco. As an ensemble, the cast really do give it their all, in a fusion of talented musicians and soulful singers who are well cast and who, unlike the fictional band, work well together, and it is during those 20 or so musical numbers scattered over the show’s two hour duration where the show really comes alive.

    Bringing the audience to its feet in the finale with a mini-concert of some soul standards, the music is infectious and the definite strength of the production. There is little effort to weave the songs into the narrative; but quite frankly, this doesn’t matter when the songbook is so toe-tappingly good.

    The Commitments is currently on national tour until April 2017 and details can be found at www.thecommitmentsontour.co.uk . The show was reviewed at Sheffield Theatres, who will soon be launching their new musical Everyone’s Talking About Jamie (www.sheffieldtheatres.co.uk/whats-on/everybodystalking-jamie)

     

     

     

  • THEATRE REVIEW | The Boys In The Band – West Yorkshire Playhouse, Leeds

    THEATRE REVIEW | The Boys In The Band – West Yorkshire Playhouse, Leeds

    ★★★★| Set in Brooklyn in the late 1960’s , nine gay men gather in an apartment to celebrate a friends birthday. Michael is an alcoholic shopaholic, Harold is a self-depreciating “Jew Fairy” (as he describes himself), Larry and Hank are a couple trying to make their differing views on monogamy fit together and Emory is as camp as they come. Throw into the mix a rather attractive, but dumb, cowboy hustler, a closeted testosterone filled ex-college roommate and copious amounts of booze and pot, and it’s not long before lives unravel, tempers fray and a cruel party game emerges.

     

    Photo Credit - Darren Bell
    Photo Credit – Darren Bell

    This long overdue revival of Mart Crowley’s classic play is most welcome, and whilst it is no longer as shocking as it was in the late 1960’s, the relevance and impact still resonates today; as, sadly, do the undertones of self-loathing and internalised homophobia. The range of characteristics on show from the main protagonists may seem slightly cliché now, but still manage to reflect a number of the sub groups within the gay community and the issues facing them. The first act is a rather whimsical affair, as the characters arrive and you get to know them, but as the second act progresses, the narrative takes a darker turn, leading to a gripping dénouement.

    The cast is strong all round, with solid performances from the ensemble, particularly Mark Gattis (Sherlock, Doctor Who) puts in an effortless performance as Harold, filled with subtlety and natural aloofness. Ian Hallard (Poirot, Doctors) holds the cast together as Michael, and James Holmes (Miranda, Psychoville) is delightful as Emory, brimming with campery and confidence. And whilst Jack Derges (Andy Flynn in EastEnders) is a vision of physical perfection, he proves he is much more than the token eye candy with an enjoyable performance as the dim witted (and mostly shirtless) cowboy hustler.

    The set is authentic and beautifully detailed, as are the costumes, but even though the fashions and décor have altered, the issues raised have not; and whilst some of the social impact of the play may have lessened with time, the personal impact hasn’t, and the gay audience will recognise aspects of themselves, their peers and their experiences amongst the events of the evening.

    With some sharp one liners, genuine emotion and some top notch performances; don’t miss your last chance to see this this excellent revival before it ends its run. The Boys in the Band is playing at West Yorkshire Playhouse, Leeds, until Saturday 19th November 2016. See www.wyp.org.uk for details.

     

  • THEATRE REVIEW | Little Shop of Horrors – Sheffield Theatres and National Tour

    ★★★★| Life isn’t so great at the Mushnik Flower shop down on Skid Row. Mr Mushnik is on the verge of closing his shop, Audrey is dating a semi-sadist dentist and Seymour’s crush on Audrey is going nowhere. But with the arrival of a strange and interesting new plant, things start to change, especially when Seymour realises that the plant, Audrey II, has a taste for human blood. As things start to look up at the flower shop, Audrey II gets bigger and bigger, as does the list of missing people.

    Photo Credit – Matt Martin Photography

    Written by Howard Ashman and Alan Menken, the songwriting partnership behind some of the biggest Disney films, including The Little Mermaid and Beauty and the Beast, Little Shop of Horrors crams in the musical numbers, including “Somewhere That’s Green”, “Suddenly Seymour” and the title track “Little Shop of Horrors”. With a flavour of do-wop, funk and Motown running through it (even including a down on their luck version of The Supremes); and a bouncy and animated feel to the whole thing, this show is tremendous, kooky fun.

    Sam Lupton excelled as Seymour, with a strong, natural vocal performance and a geeky clumsiness; as did Stephanie Clift as Audrey, bringing out the optimistic side of her character whilst maintain her vulnerability. The two leads gel together perfectly, especially with their show-stopping rendition of “Suddenly Seymour” and they are an absolute delight to watch. Romantic leads as good as these two are few and far between. Rounding off the main cast was Rhydian, who played the “slightly” manic dentist, Orin, with enough gusto to keep it his performance just on the right side of caricature, and with his strong operatic voice lending itself to his big number very well. However, the star of the show was Audrey II, the giant plant, who grows and grows and becomes more animated as the story progresses.

    This touring production boasts a thoroughly detailed and well-designed set, with a cartoonish feel and an eye for detail. Add to that some clear, crisp and perfectly balanced audio, an effective lighting design and an all-round top notch cast and you have an impressive show which is highly polished.

    Little Shop of Horrors has gained a cult following over the years and it is easy to see why. At the heart of it is a love story about a guy who will do anything to get the girl of his dreams. The songs are catchy and feel instantly familiar, the story is undemanding, and the script has plenty of moments to make you laugh.

    With a healthy nod to 1950’s B-Movies and a musical mish-mash of styles with everything from Motown to Yiddish Folk Music thrown in there, Little Shop of Horrors is a cracking musical comedy which is pure escapist fun.

    Little Shop of Horrors is currently on national tour and details can be found on their website at www.littleshopuktour.com. The show was reviewed at Sheffield Theatres, whose upcoming production of Everyone’s Talking About Jamie opens soon (https://www.sheffieldtheatres.co.uk/whats-on/everybodystalking-jamie)

  • THEATRE REVIEW | Ballet Black Triple Bill – CAST Theatre and National Tour

    ★★★★ | Comprising of a trio of pieces, this mixed programme from Ballet Black combines abstract dance, drama, passion and narrative storytelling in a triple bill of short pieces which amounts to a stunning evening of dance.

    Photo Credit – Bill Cooper

    The piece opened with Cristaux, an abstract piece centring on the beauty of crystals and how mesmerising they can be. The piece was performed by Cira Robinson and Mthbuthuzeli November, who both carried precision, synchronicity and poise in their movement. Robinson’s costume was beautifully decorated with 1500 Swarovski crystals, which glistened in the light as the pair traversed the stage.  Despite the quality of the choreography and performance, this was the weakest of the three pieces, primarily as a result of its soundtrack comprising of tinny bells ringing in a mish-mash of patterns. Despite sitting well with the theme of the piece, the composition held the piece back, which is unfortunate for something which otherwise had a lot for it.

    The second piece, To Begin, Begin was choreographed by Christopher Marney, a former performer with Matthew Bourne’s New Adventures. Warming the stage with subtle lighting comprising of hues of blue and orange; and accompanied by gentile compositions of swathing strings and piano, this piece had a warm, dreamlike quality to it which felt comforting and familiar. The second abstract piece of the evening had a more contemporary slant to it, and knitted together both the traditional and modern movements beautifully; and kept building the momentum with the music and movement. To Begin, Begin was evocative, atmospheric and utterly absorbing.

    Rounding off the programme was Storyville, a narrative driven piece choreographed by Christopher Hampson. Set in 1915, the ballet tells the tale of a young girl who finds herself working in an infamous dancehall in the red light district in New Orleans. Taken advantage of because of her youth and innocence, her spiral into self-destruction cannot be halted, even by a young sailor that she falls in love with. Brimming with passion and sadness, this piece had a clear narrative relayed by well-defined characters. Added into that was a collection of music which was evocative of the time period of the setting and a subtle undertone of fears of voodoo and black magic, reflective of the culture of New Orleans; which both added gravitas to the piece.  Storyville rounded off the evening perfectly.

    Having never seen this company before, for me, the triple bill was a fascinating insight into the company and an impressive taster of what Ballet Black has to offer, leaving me keen to see more from them.  With a consistency of quality, precision and emotion running through the three pieces and with their impressive choreography and presentation, Ballet Black is thoroughly recommended.

    Ballet Black is currently on tour across the UK. Details of the company can be found at www.balletblack.co.uk . Ballet Black were seen at CAST Theatre, Doncaster, who have a variety of art, dance, performance and shows, from West End shows to world premieres, in their upcoming season. Details can be found at www.castindoncaster.com