THEGAYUK

Author: Paul Szabo

  • THEATRE REVIEW | Kiss Me, Kate – Leeds Grand Theatre and National Tour

    As a sucker for a classic musical, I was very curious to see what Opera North would make of the Cole Porter classic. ‘Kiss Me, Kate’ is a typical tale of mistaken identity, a will they/wont they love story, a bit of swindling and a bunch of likeable characters all interwoven with an appealing collection of songs. ★★★★★

    Porter’s tale stages a play within a play, telling the story of Fred Graham, an actor and director who casts his ex-wife as his co-star; and finds himself in hot water when one of his other leading men signs off a gambling debt in his name. He tries desperately to keep his musical production of The Taming Of The Shrew on track, as a couple of inept gangsters show up to collect the debt and Grahams relationship with his ex-wife sways between love and hate. But as everything falls apart and the backstage bickering starts to mirror the story on stage, Graham does everything he can in ensuring that the show must go on.
    The songs from Kiss Me, Kate are some of Porter’s most sterling work, with an overarching jazzy vibe which made the musical numbers delightfully catchy. “Why Can’t You Behave”; “Tom, Dick or Harry” and “Too Darn Hot” were all proper toe tappers, and Tiffany Graves multiple reprises of “Always True To You In My Fashion” were simply glorious.
    Opera North have gathered a great company for this show, which draws from a variety of disciplines to produce a collective cast of people who not only specialise, but excel in their field. The classically trained opera singers blended absolutely seamlessly with the musical theatre actors and the dancers. The collective sound and sheer power of the ensemble was stunning. The cast combined to make the production one where each individual element was performed by those with pure strength in their performances and was all the better for it. Quirijn De Lang is vocally strong and charismatic as Graham, whilst Jeni Bern proves an equally impressive sparring partner, and Tiffany Graves and Ashley Day both playfully bounce off each other quite happily.
    But on top of that, the production was top notch, with a beautifully designed set, which was detailed and ingeniously versatile; showing what was happening on stage, in the wings and backstage on the twirl of a backdrop. The costumes were sumptuous, being full of sharp suits and flapper dresses behind the scenes; and lavish, detailed period costumes on stage. Jo Davis directs the show with a flair which mirrors the quality of the presentation and the whole thing oozes class. Add into that a cracking, brass filled performance from the orchestra, conducted by David Charles Abell, and you have an outstanding production which wouldn’t be out of place on any West End stage.

    The show looks and sounds superb and there are not many productions that have such a great show stopping numbers at the start of each act. The script glistens with wit and charm which is reflected in the performances and the whole thing is professionally polished to within an inch of its life. Don’t be put off by thinking this is traditional opera. It’s not. ‘Kiss Me, Kate’ is musical theatre as it should be performed.

    Kiss Me, Kate is part of Opera North’s Autumn programme, which also includes The Barber Of Sevilleand Jenufa. These shows can be seen on various dates at Leeds Grand Theatre until 31st October 2015, before visiting The Theatre Royal in Newcastle (3 – 7 November 2015), The Lowry, Salford Keys, Manchester (10th – 14th November 2015) and Nottingham Theatre Royal (17th – 21st November 2015). For tickets and further details, visit www.operanorth.co.uk

    by Paul Szabo | @IAmScubamonkey

  • THEATRE REVIEW | Vincent & Flavia in The Last Tango – Sheffield Theatres & National Tour

    If the return of Saturday Night stalwart ‘Strictly Come Dancing’ has whetted your appetite for some classic crooning, some archetypal moves on the dance floor and all things sequined, then why not swap your sofa for a theatre seat and see the whole thing live? ★★★ (more…)

  • THEATRE REVIEW: Romeo + Juliet – The Crucible Theatre, Sheffield

    For this production starring Freddie Fox, the story of Romeo and Juliet needs very little introduction, being Shakespeare’s classic tale of two young lovers from rival families who see beyond their family’s feud, and secretly marry. ★★★

    But when Romeo kills a member of Juliet’s family, the tragedy looks set to tear them apart.

    Whilst retaining the original text, the events are loosely set in the north of England, with northern accents aplenty and bold characters, some of whom have a slight hint of “Jeremy Kyle fodder” bolshiness about them. The costumes provided an overarching 70’s visual style, made up of a plethora of man-made fibres, bold patterns, skimpy trunks and jumpsuits. An empty set constructed of corrugated steel sheets and pressed wood flooring served to focus the audience on the performances of the cast and the use of only two contrasting materials reflected the two conflicting families of the story.

    But with so little on set, the performances were left to carry the production. There were two performances which stood out from the ensemble cast. Firstly Rachel Lumberg as Nurse, who was the epitome of the northern “salt of the Earth” working class mother figure. Secondly was a quirky, camp and awkward version of Peter, played by Joshua Miles. Skulking around like the lovechild of Alan Bennet and Jarvis Cocker, his scene stealing turn was rewarded with the majority of the audience’s laughter and affection.

    But the draw here is Freddie Fox, last seen by most people in “Cucumber”, “Banana” and “Pride”. Fox made for an interesting choice, with his youthful, almost androgynous and pale features, which worked surprisingly well. Fox’s performance was better than one would perhaps anticipate, demonstrating his versatility. His diction was clear and precise and he did hold a real stage presence, drawing the eye and teasing the audience with frequent flashes of his washboard abs and his toned biceps. You could easily believe that he was a young, somewhat naïve love-struck teenager, and his wide-eyed performance conveyed Romeo’s first realisation of true love over and above his romantic ideations that had come before it. The supporting cast was also filled with a slew of very handsome young men, in particular Scott Arthur, Joshua Miles and Simon Manyonda who all performed as well as they looked.

    Staging a new production of Romeo + Juliet can be tricky. As one of Shakespeare’s best-known plays and given its presence in popular culture, any company has to walk a fine line. If you make the production too modern, it draws the risk of being criticised as a pale imitation of the Baz Lurhman film starring Leonardo Di Caprio; too traditional and it becomes a bland and unimaginative re-tread which has all been seen before. But thankfully Sheffield Theatres manages to walk a line which means that there production doesn’t falls into either category, with a production that put me in mind of a Shane Meadow’s “This Is England 90” chav culture.
    The first act of the play picked out the comedy elements of the piece nicely and was engaging and entertaining, although the second act did seem to lose some of the momentum which had built up in the first act and there were occasions throughout when some of the diction was lost at times by some of the cast members. But that said; it was an interesting take on a classic and one which did just about enough to make it stand apart from versions which has come before it.
    Romeo + Juliet is at The Crucible Theatre, Sheffield until 17th October 2015. Tickets can be bought online at www.sheffieldtheatres.co.uk or by calling the box office on 0114 249 6000.

  • THEATRE REVIEW | The Curious Incident of the Dog in the Night-Time – Sheffield Lyceum & National Tour

    Christopher Boone, a 15-year-old boy, discovers that his neighbour’s dog, Wellington, has been killed by someone (the poor dog having been stabbed with a garden fork), and sets off to find out who the culprit is. ★★★★

    But Christopher has Asperger’s syndrome, which makes his perception and functioning very different to other boys his age and as the truth behind Wellington’s death starts to be revealed, it leads Christopher to embark on a remarkable adventure.

    The show is based on the hugely successful book by Mark Haddon and has been a West End and Broadway hit. Utilising a virtually empty stage, the presentation of the show was intriguing, using screens on the back and sides of the stage, almost framing the show in a cube, reflective of Christopher’s constraints in his functioning. Lights flicker like the firing of neurons in his brain, and black and white projections are used to show both his thought process and to set the scene. The show, like the book, is written from Christopher’s point of view and the presentation effectively places the audience members squarely into the centre of his mind and thoughts. The simplicity of the set is reflective of the way in which Christopher perceives the world and worked very well. There were pieces of carefully choreographed movement throughout, and the scene where Christopher arrives in London and is overwhelmed by the overstimulation of his environment is superbly done. In this show, less certainly is more, and the monochrome set nicely mirrored Christopher’s rather binary thinking.

    But placing the style and presentation to one side, the most impressive aspect of the show was the outstanding performance of Chris Ashby. Ashby’s portrayal of Christopher Boone was stunning – mixing the complexities of the characters personality, his physical traits and a childlike innocence which combined to provide a rounded and believable performance. It was up there with some of the best performances I have ever seen in the theatre. Surely big things must beckon for this young man. The other standout performance was provided by Stuart Laing, as Ed; Christopher’s father. The scenes between them were particularly moving and touching, and showcased two incredibly talented actors.

    The show is beautifully written, with a script which imports large chunks of text from the book to provide a faithful adaptation of the source material and was filled with gentle humour and a myriad of characters that come in and out of Christopher’s life. But the show also has beautifully crafted moments of dramatic tension and emotionally powerful scenes which captivated the audience completely.

    The show has won a slew of awards, including 7 Olivier Awards and 5 Tony Awards, and it is easy to see why. There is a lot of depth to the play, exploring the adult world of interpersonal relationships through a simplistic and innocent perspective. It is one which has stayed in my mind in the days after seeing it.

    The Curious Incident of the Dog in the Night-time is currently playing at Sheffield Lyceum Theatre until Saturday 26th September 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour until 26th November 2015. For further details, visit www.curiousonstage.com/

    By Paul Szabo

  • Interview: Ashley Day: From West End Mormon To Kissing Kate

    Ashley Day is a West End star who knows about diversity in his roles. Having played a Mormon, a man made of liquorice and a cowboy, he is now turning his hand to Shakespeare in Opera North’s revival of Cole Porter’s classic musical, ‘Kiss Me, Kate’, which is heading out on tour this autumn.

    (more…)

  • THEATRE REVIEW | Dirty Rotten Scoundrels, The Musical

    With just the right balance of charm, smarm and quintessential Englishness, Michael Praed plays Lawrence Jameson, a con man who spends his time in the French Riviera swindling money from the rich women using his good looks, his faithful partner in crime, Andre (Mark Benton) and a tired old story about him being the Prince of a revolution-torn country.

    His unchallenged reign as king of the swindlers comes to an end with the arrival of Freddy Benson (Noel Sullivan), an uncouth, inexperienced and rough around the edges con man hoping to make his fortune. Lawrence agrees to take Freddy under his wing, but their initial prosperous partnership falters when they enter into a bet to see who can swindle $50,000 from a young lady first, leading to an increasing rivalry between the two.

    Utilising a versatile, art deco influenced set which ably adapted to define a large number of specific locations, this production contained a set of decent, toe tapping and comfortingly familiar sounding songs, with snappy lyrics and lively presentation. The opening number, “Give Them What They Want” set the tone nicely, and the cowboy inspired ensemble piece “Oklahoma?” was a delightfully flamboyant, camp and fun number with its tongue planted firmly in its cheek, proving to be a highlight of the show.

    The show blended both a witty script packed with one liners and a lot of physical comedy; providing a number of genuine laugh out loud moments. The three leads were well cast, with Praed really impressing with his natural performance, Benton being as reliable as ever as the comedy sidekick, and Noel Sullivan putting in an unexpectedly impressive and confident turn.

    What I did like about this show was that the set, presentation, tone, structure and even the musical numbers were steeped in the traditional elements of the classic musicals, giving the whole thing a feel of familiarity, but the characterisations went over and above the usual musical fayre, the story was more in depth and the departure from the usual “will they/won’t they” love story made a pleasant change. My only real criticism was that the second act couldn’t quite match the pace of the first act, and was more uneven in the spacing of its musical numbers, leading to the latter act feeling a little stretched out, particularly as the show drew to a close. Cutting ten minutes out of the second act would have made all the difference.

    It was with some slight apprehension that I approached Dirty Rotten Scoundrels – a musical based on a fairly mediocre late 1980’s film which I never particularly liked; a lengthy running time and a handful of unfamiliar songs. But one of the things I love about theatre is its constant ability to surprise, and this production was no exception.

    Overall, Dirty Rotten Scoundrels proved to be remarkably fun, coming across as an odd hybrid of Hairspray, The Producers, Top Hat and High Society. Far better than the film on which it is based, it transpired to be a show which I enjoyed it far more than I ever thought I would.

    Dirty Rotten Scoundrels is currently at Sheffield Lyceum until the 29th August 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour until 28th November 2015. For details, see the official website at www.scoundrelsontour.com

  • THEATRE REVIEW | Oklahoma! National Tour

    ★★★ | Oklahoma! National Tour

    Rodgers and Hammerstein’s musical, Oklahoma!, is revived in this touring production, bringing with it a plethora of muscly armed cowboys, giggling girls and barn dances aplenty.

    Oklahoma is one of the classic American musicals, featuring songs including “Oh What a Beautiful Mornin’”; “People Will Say We’re In Love” and the title song, “Oklahoma”. The tale is a familiar one, of will they/won’t they love, a jealous potential suitor and a host of colourful supporting characters, all set against the backdrop of the turn of the century Old West.

    The show itself remains the fairly easy going and generally pleasant experience that it has always been, where the whimsical plot and jolly songs require no effort on behalf of the audience. It’s a fairly typical musical of the era, and this version remains fairly simplistic in its presentation. Ashley Day, as the lead cowboy, Curly, has the right balance of looks, charisma and natural singing ability to carry off the part, and Simon Anthony does an equally good job as Will Parker. Standing out from the crowd was Gary Wilmot, as Ali Hakim, the pedlar, remaining, as ever, the consummate professional and looking like he genuinely hasn’t aged a day. The remaining cast generally were in fine voice, but the female characters were hampered by ultra-thick American accents and a far too high pitched and squeaky tone.

    But where the production was let down was in its rather straight forward presentation. The majority of the (95 minute) first act took place on a static stage with only one key set change, which led to a set which was not as visually stimulating or dynamic enough as it could have been. Added to this was the fact that it was genuinely difficult to hear what was being said or sung which made the play harder work then it should have been. The direction was generally functional rather than dazzling and the choreography came across as slightly clunky at times. Those issues aside, the cast’s enthusiasm was undeniable, the performances were polished and the whole thing did pick up in the second act, finishing with a rather rousing chorus of “Oklahoma” and a standing ovation from the audience.

    Overall, this was a fairly basic and incredibly safe production of a classic musical. I do feel it slightly missed the chance to be something much better than it is, but for a straight forward production and to enable the audience to hear those classic songs sung well, it is a pleasant enough evening at the theatre.
    Oklahoma! is playing at the Sheffield Lyceum until Saturday 1st August 2015 (see www.sheffieldtheatres.co.uk for details and tickets); before rounding off its national tour at High Wycombe from the 4th to the 8th August 2015 (see www.wycombeswan.co.uk for details)

  • THEATRE REVIEW | Camelot, The Shining City

    ★★★ | Camelot, The Shining City

    Sheffield Theatres join forces with the innovative Slung Low Theatre Company to present an intriguing and immersive theatrical experience. Whilst this is a show which takes inspiration from the legend of King Arthur and which borrows both characters and plot points, this is by no means a straight retelling, but instead sets the action in a dysfunctional, near-future Sheffield, where totalitarian rule by a military dictatorship sparks revolution, rebirth and riot.

    Utilising a cast of 150 people, made up of a mixture of professional actors and members of the Sheffield People’s Theatre, this is theatre on a big scale. Starting on the stage of the Crucible Theatre itself, the action, cast and audience subsequently spill out into the summer evening in Tudor Square outside the theatre itself; with the action then moving to the Peace Gardens in the town centre for the final act.

    Soldiers patrol the crowds, riot police with spotlights line the roofs of the neighbouring buildings, rioters mingle with the audience members, military jeeps sweep up the square, a taxi is smashed during a riot and pyrotechnics light up the twilight of the evening as the show culminates. This is not just your run of the mill street theatre; it is street theatre on an impressive and grand scale.

    Where this show is a real success is that it quite literally places you; as an audience member; right in the middle of the action, with the play taking place all around you. Each audience member is given a headset with a radio receiver, which allows you not only to hear every word spoken by the cast, but also allows for interior monologues of the characters to be heard, for atmospheric music and sound effects to consume you and to effectively isolate you from the “real world” making you feel even more a part of what is being portrayed in front of you.

    Whilst the actual story itself was not particularly strong and the performances were never more than functional, there was some clever writing involved. Key plot points were written into the story to signify the change of performance venue, and even the transporting of the audience was part of the play itself, not only flowing with the story, but including you being surrounded by the cast still in character. There were a number of local references which further assisted in blurring the lines of the real world and world on stage; and the presentation and grandiose nature of the whole thing was tremendously impressive.

    As someone who is fortunate enough to frequent the theatre regularly, this was not only very well and smartly staged, but was a wholly different and highly enjoyable theatrical experience unlike any other I have attended. For those looking for a very unique evening of theatre, look no further.

    Camelot – The Shining City is currently playing at Sheffield Theatres until 18th July 2015. For details and tickets, visit www.sheffieldtheatres.co.uk or call the box office on 0114 249 6000

  • THEATRE REVIEW | Matthew Bourne: The Car Man

    ★★★★★ | Matthew Bourne: The Car Man

    Set amongst the Italian-American community in a small town in 1960’s America, Matthew Bourne’s The Car Man reimagines Bizet’s most popular Opera, Carmen, in a more contemporary setting.

    Luca (Tim Hodges) is a drifter, whose charisma immediately draws the attention of Lana (Zizi Strallen), the wife of Dino, Luca’s boss. They embark on a passionate affair, but Luca catches the eye of Angelo, a young mechanic who is bullied by his contemporaries and who is irresistibly drawn to the stranger. In a heady mix of violence, murder, sex, passion and revenge, Luca’s arrival sets off a cataclysmic chain of events.

    The overall feeling of the piece is one of grimy, seedy sensuality, with more scantily clad dancers, muscular, sweaty torsos and bulging biceps than you could reasonably expect and an abundance of sexually charged encounters, which abandon the usual constraints of sexuality. The main protagonist, Luca, is clearly comfortable in his attraction to both sexes and his passionate encounters with both Lana, his boss’s wife, and Angelo, the young mechanic, demonstrate both his irresistible allure and his self-serving manipulation of others. The other townsfolk are equally as liberal, where the fluidity of sexuality mixes in with the testosterone-fuelled masculinity of the mechanics and their blend of both fiery and submissive girlfriends. This is a gritty world, where sex, rough handling and casual violence are compounded by the intense heat, and one which comes across superbly in the theatre. It is also a world where the levels of sexual tension and dramatic tension are evenly matched. This is not just a straightforward narrative piece, it is a piece that delivers a genuinely enthralling story, pulling you in early on, and not releasing its taught grip until the final curtain falls.

    Whilst using what is effectively an abridged version of Bizet’s score, Bourne cleverly utilises the most identifiable pieces and surrounds them with original music, making the accompanying score simultaneously familiar and fresh. Further inspiration comes from Bizet’s opera, but never in such abundance that this production becomes a re-tread. For me, Luca was Carmen, and switching the sex of the central character was an inspired choice, but that doesn’t stop the other characters, Lana in particular, from taking on the mantle of Carmen at different junctures in the story.

    The cast were universally on form, tightly choreographed and performed incredibly, injecting each of their roles with uniqueness and filling the stage with an energetic and boundless performance, where the character was as important as choreography. Tim Hodges was as charismatic as the character he portrayed, and Angelo’s transformation from naive teenager to vengeful young man was superbly handled by Liam Mower. The set, crystal clear music and lighting only served to make this production the whole package. The Car Man is a simply stunning piece of theatre and could easily sit as this generations West Side Story.

    Sultry, sexy and sensual, you would be hard pushed to find a better blend of dance, drama and passion.
    The Car Man is at Sheffield Lyceum until 27th June 2015, before moving to Sadlers Wells Theatre, London until 9th August.

  • THEATRE REVIEW | Putting On The Ritz National Tour

    As someone who was raised on a diet of the films of the golden age of Hollywood and classic MGM Musicals; and as someone who finds a full on show-stopping musical dance break hard to beat, the lure of a musical revue of the songs of George Gershwin, Irving Berlin and Cole Porter proved hard to resist.

    Putting together a collection of some of the most timeless and well-known songs, including “Puttin’ On The Ritz”, “Top Hat”, “Let’s Face the Music and Dance”, “I’ve Got My Love to Keep Me Warm”, “Anything Goes” and “I Got Rhythm”, the soundtrack was top notch and a real demonstration of the enduring appeal of these masterfully written slices of perfection. There was a pleasant spread of songs, taking into account the upbeat numbers, but also slowing the pace with some ballads, including “Someone To Watch Over Me”. There were a few odd choices – a rather over the top performance of “Summertime”, a couple of instrumental songs which really should have been sung (“Cheek to Cheek”) and a few absent favourites, but overall, with such a vast catalogue to choose from, there was a good spread of the well-known and seldom heard.

    Despite the staging being fairly bland; an unimaginative glittery set, a backdrop curtain with a cascade of fairy lights and a rickety staircase; the numerous costumes changes came thick and fast, with enough sequins, feathers and glitz to satisfy even the hardiest of ‘Strictly’ fans. Lighting and direction was fairly functional, but the choreography was fast paced, upbeat and a good mixture of ballroom, jazz, tap, swing and Charleston, performed in a rather polished fashion.

    The low quality production values aside, the cast performed competently albeit with an abundance of fixed grins. The six vocalists were able to give the songs enough joie de vivre to do them justice, with the three male vocalists eclipsing the female trio. Trent Whiddon and Gordana Grandosek (from ‘Strictly Come Dancing’) were rather impressive, although criminally underused, making the most of their handful of routines, floating lightly across the stage and making the whole thing look absolutely effortless. The remaining cast of dancers did give it their all and the numbers were well choreographed, building nicely and feeling very playful.

    The show is certainly more “cruise ship cabaret” as opposed to “West End spectacular”, but despite its low production values, slightly cheesy feel and constantly grinning cast, the show was foot tappingly entertaining where the stars of the show were the songs themselves. I’m sure that this was never intended to be life changing theatre, but it never pretends to be; and managed to completely sweep up the audience with its charm and its firm footing in the tradition of good, old fashioned entertainment. The running time of just over two hours went far too quickly, making this show a nice little guilty pleasure.

    Puttin’ on the Ritz is at Sheffield Theatres until 20th June 2015 before continuing on its national tour, calling at numerous venues around the country until the 14th November 2015. For details, visit the show’s official website.

     

     

  • THEATRE REVIEW | Wayne McGregor’s Random Dance: FAR – CAST Theatre, Doncaster

    ★★★ | FAR – CAST Theatre, Doncaster

    Based on an 18th-century text, Flesh in the Age of Reason, (hence the acronym, FAR), choreographer Wayne McGregor’s piece ventures into the relationship between the flesh and the mind. Utilising a backdrop of a pin board of thousands of LED’s, glistening and twinkling like the firing of neurological pathways, a troupe of ten incredibly agile and flexible dancers intertwined and knotted together their bodies as they conveyed how ideas are formed and spread into the physicality of creativity.

    Minimalist lighting enhanced the piece, showcasing the dancers and their incredible suppleness. The fluidity of their movement was visually intriguing as they contorted their bodies in a heady mix of extended limbs, ripples and head rolls, working throughout the performance with a professional determination and intensity. The piece left me in no doubt as to the talent of the cast, with their precision movements and the sheer power of their toned and muscular physicality contrasting with the flaccidity of some of their more exaggerated double-jointed dance steps.

    The accompanying soundtrack started promisingly, with subtlety and a classic feel to it, as a duet of barefooted dancers performed a tender routine flanked by four torch bearers, but soon descended into a more industrial auditory landscape, with its constant clatters, pulses, bangs and harsh rasps which assaulted the audience with little discernible melody. The brief respites of a more traditional score were occasional and welcome, but not frequent enough and one could only think about how different the piece could have been with the addition of a more forgiving acoustic accompaniment.

    The piece is challenging, with an absence of an easily identifiable narrative and a feeling of a number of short pieces knitted together, but it ultimately left me feeling somewhat confused, with the theme of the interplay between art and science being conveyed less precisely than the movements displayed on stage. However, where McGregor does succeed is the demonstration of what can be achieved by the body when pushed to its physical limits in tandem with allowing the mind to be creative; and whether you appreciate the abstract nature of the piece or not, there is much to be admired in the physicality of the performance created.

    More information on the company can be found at http://www.randomdance.org/home . FAR was viewed at Doncaster Cast Theatre; who has a varied selection of mainstream and niche productions in their current season.