Author: Robin Foreman-Quercus

Commonwealth gay kiss: “They should be burned alive”

In case you’ve been asleep for the last day or so, the Commonwealth Games Opening Ceremony took place last night. In amongst the usual song and dance of such an affair, something relatively insignificant happened: a person kissed someone.

This would usually go without comment, except for the fact it was two men; one of them being John Barrowman. I’m no massive fan of Barrowman’s attention-seeking antics, but even he does not deserve this delightful tweet from Twitter user @Looney_Ent: “This is disgusting, they should be burned alive. Commonwealth Games ceremony gay kiss #nohomo #nohomo #nohomo”

The Twitter community dove into action, reporting the offending tweet to Twitter and the Metropolitan Police. In the face of such backlash, and following warnings from the ever-delightful @FleetStreetFox, the homophobic tweet has been removed and replaced with a barbed apology.

Unfortunately, I couldn’t reach John Barrowman for comment.

24th July 2014
THEATRE REVIEW: A Spoon Of Sherman, St. James Theatre

★★★★ | A Spoon Of Sherman, St. James Theatre

Billed as ‘The Songbook of Your Childhood’, this celebration of one of the world’s best-loved songwriting duos is so very much more than that; it is the songbook – nay, the soundtrack – to my life.

The first Act opens with an Al Sherman medley. A prolific songwriter in the 1930s and 40s, Al Sherman wrote for Frank Sinatra, Bing Crosby, Billie Holiday, and many others. It’s very evident from hearing these numbers that such talent runs in the genes. His sons, Robert and Richard, would go on to continue this fine art for many years as The Sherman Brothers, and their songbook provides the main focus of the evening.

The musicals the brothers are best known for fly in thick and fast – Mary Poppins, Chitty Chitty Bang Bang, The Jungle Book, Bedknobs and Broomsticks, The Parent Trap, Charlotte’s Web, Winnie the Pooh, The Slipper and the Rose, and so many more. Delightfully, A Spoonful of Sherman also includes some of their lesser-known, but no less delightful, back catalogue.

The four singers – Greg Castiglioni, Stuart Matthew Price, Charlotte Wakefield and Emma Williams – are supremely talented and versatile, swinging with apparent ease between ballads and the more lively numbers; between comical and serious without a flinch. This is never more evident than the perfectly executed leap from The Jungle Book’s “I Wanna Be Like You” to “The Age of Not Believing”, from Bedknobs and Broomsticks.

Now, I may be a little bit biased here (I hereby confess to a lifelong obsession with Chitty Chitty Bang Bang), but Emma Williams stands out for me. Partly because every time I see her, I remember the many trips I took to the Palladium while she played Truly Scrumptious in Chitty, but also because of her exceptionally sweet and clear voice. Her performance of “Mother Earth and Father Time” from Charlotte’s Web is beautiful and a definite highlight of the evening.

A Spoonful of Sherman is hosted by the affable Robert J Sherman, the son of Robert B Sherman. An accomplished songwriter in his own right, we are treated to a few numbers from his musical, Bumblescratch, which workshopped in London last year. It is clear he has inherited his father’s, and grandfather’s, innate talent.

And then, it’s here. As sad as it is to leave the rest of the evening behind, I hear a few distinctive notes which signal the start of the Chitty Chitty Bang Bang medley and the world melts away. It is everything I want it to be, and there can be no higher praise than that from such a devoted fan.

All in all, A Spoonful of Sherman provides an entertaining insight into 90 years of songwriting history. In every note, this exquisite tapestry of song is an entirely fitting tribute, not only to the Shermans’ talent, but to the very art of songwriting.

A Spoonful of Sherman plays at 19:45 on Monday 21 and Tuesday 22 April at the St James Theatre. Tickets are £18-£25 from https://www.stjamestheatre.co.uk/events/a-spoonful-of-sherman-2

21st April 2014
THEATRE REVIEW | Philip Pullman’s Grimm Tales, Shoreditch Town Hall

★★★★ | Philip Pullman’s Grimm Tales, Shoreditch Town Hall

This immersive retelling of some of Grimm’s best-loved fairy tales, alongside a couple of less well-known ones, is an extraordinary journey through a world that is both familiar and intriguing.

The characters find themselves in the basement rooms of Shoreditch Town Hall many years after their tales took place. They have entertained themselves by retelling their stories and invite you to join them as they do so.

We gather amongst mysterious hooded figures in the entrance hall before Red rushes through, urging the crowd to follow her as she leads us down into the bowels of East London. Each simply-decorated room has been magically transformed to evoke a sense of suspense and wonder, but the attention to detail doesn’t stop there.

Between performance rooms, the corridors are decorated and secret doors hide uninhabited but furnished rooms, all of which lead the mind through many more of Grimm’s tales as if those characters are residents too. The stories themselves are told in a simple manner which allows the characters to live in our own imagination as brightly as those we see before us.

The storytellers themselves are Ashley Alymann, Sabina Arthur, Rebecca Bainbridge, Annabel Betts, James Byng, Paul Clerkin, Lindsay Dukes and Simon Wegrzyn and there really isn’t a weak link amongst them. Each holds a particular charm in their storytelling manner and an incredible ability to lead you deep into your own imagination.

However, there is one in particular who shines through as truly exceptional. Simon Wegrzyn plays a thoroughly captivating Wolf, with a look in his eyes that is altogether as dark and conniving as the character he inhabits. Later in the evening, his Hans-My-Hedgehog is a world away from the wicked Wolf, but every inch as captivating and performed with a delightfully humorous sensitivity.

Hans My Hedgehog is a peculiar tale, and not one I had come across previously. Half-boy half-hedgehog, Hans is disowned by his father so rides his cockerel to the woods, where he lives in a tree playing bagpipes to pigs (as you do).

Philip Wilson has adapted Philip Pullman’s Grimm Tales: For Young And Old in a manner which remains true to the author’s collection whilst allowing the stories to exist in an entirely new form. Together with Tom Rogers (set and costume), Howard Hudson (lighting) and Richard Hammarton (sound), he has created a wonderful, wondrous world where fiction really does meet reality.

To experience this magical fairytale world for yourself (and it really is worth doing so), head over to www.grimm-tales.co.uk and book yourself a trip to Shoreditch before 24 April.

30th March 2014
INTERVIEW | Cheryl Baker

We catch up with the gorgeously camp and ever youthful Cheryl Baker. Famous for ‘that’ skirt moment, winning Eurovision, Christmas Top of The Pops and co-hosting Record Breakers. Cheryl we bow down to thee….

What is your favourite moment from your career?
Winning Eurovision, without question, as that was always my ambition as a child. Eurovision is like the Olympic Gold of pop music, so to win that was amazing. Personally, though, my favourite moment was singing Mary’s Boy Child on stage with my sister when I was a teenager as that was when I decided I wanted to be on stage.

Comparing Eurovision to the Olympics – no wonder you’re such a legend.

What has been your campest moment?
Again, winning Eurovision! And, when we did Christmas Top of the Pops, I was dressed as a Pixie for The Land of Make Believe. When we sang “run for the sun”, I was hoisted up in the air. It was pure pantomime and fabulous.

Flying pixies on Christmas TOTP – 10 out of 10!

What’s the most outrageous thing a fan has ever said / sent to you?
Oh, that’s easy! I get hay-fever really badly and, one time, this girl asked me for my tissue. I said “No! It’s full of snot!” She just said “But it’s your snot!” Yuk!

Erm.. VILE! Oh. My. God.

Have you ever used your fame to get into a VIP area (don’t you know who I am)?
No! I can’t stand that. I hate it so much. A really good friend, who I love dearly, bought me tickets for My Fair Lady at the National. She said to me we should go to the after-party, I said “No, I haven’t been invited.” but she just said “They’ll let you in; you’re Cheryl Baker!” I remember when I was in Co-Co in 1977, I was in a restaurant called The White Elephant on the River – everyone went there, it was the place to be. Davy Jones from the Monkees came in, and he was my idol, as that was my era. They said “I’m terribly sorry, Mr Jones, but there are no tables.” and he actually said “Don’t you know who I am?” and my heart just sank. He was my idol.

We love a diva, but we love an unassuming one even more.

What was the most breathtaking record you saw broken on Record Breakers?
Roy Castle did the longest wing-walk. They wanted me to do it too. I tried for about 10 minutes but it was hell. Roy was terrified of heights but that’s how he dealt with his fears – by facing them. We both did the longest rope slide, from the top of Blackpool Tower, although that record was beaten shortly after by the Marines. We were both terrified. I raise my hat to Roy – so many of the records were about him facing his phobias.

Why do you think the gays love Eurovision so much?
I don’t know but I’m so glad they do! They love everything I love – musical theatre, pop music, Eurovision. I’m like a gay man. If I was a man, I would definitely be gay.

Never change. Ever.

What does it mean to you to be a gay icon?
It means I have a real loyal following that say lovely things. They call me Dame Cheryl, which I love, even though it sounds a bit old! Gays are very happy to wear their heart on their sleeve. If they like something that other people say is camp or twee, they don’t care. Gay men and women are not afraid to come out and say they like something, and just be themselves.

Dame Cheryl; we salute you. Gay Icon, Eurovision legend and Bethnal Green’s campest export. ∎

Cheryl Baker currently appears as Mrs Cunningham in the UK tour of ‘Happy Days the Musical’. Tour dates and tickets from happydaysthemusical.com

12th March 2014
THEATRE REVIEW | Westend Fest, The Actors’ Church

★★★★ | Westend Fest, The Actors’ Church
The West End was treated last Sunday evening to not one but two glittering charity fundraisers. I opted to visit the always-fun WestEnd Fest, held at St Paul’s Church in Covent Garden over the larger and more-publicised West End Unites event at the Lyric.

With a line-up consisting of many of the West End’s best-loved names, WestEnd Fest is an evening of song, dance and lots of laughter organised by actress Sabrina Aloueche and musician Richard Parnell Page. This show’s theme, “Songs you love… BUT SHOULDN’T!” paved the way for these West-Enders to belt out some of their favourite pop tunes.

I was struck, initially, by just how perfect a venue St Paul’s Church is for a celebration of all that the West End has to offer. This peaceful haven, in the very heart of Covent Garden, is known as The Actors’ Church, and is a perfect setting for the evening of heavenly pleasures we witnessed.

David Ribi and Rosie Ladkin opened the show with a tribute to that guiltiest of pleasures, High School Musical. The evening continued in much the same vein, with songs from various musicals including Frozen, The Little Mermaid, The Jungle Book and Love Never Dies, as well as tributes to Maria Mackee, Celine Dion, Avril Lavigne, Justin Timberlake, and Belinda Carlisle with Justin Bieber (an unlikely pairing, admittedly, but one that Rob Houchen somehow made work in his inventive and original arrangement).

David Ribi also closed the evening as part of WestEnd Fest’s very own boyband, Wrong Direction. Known for being a member of top One Direction tribute act Only One Direction as well as his numerous acting and presenting credits, he was perfectly at home in such an environment and this shone through in his performance.

The performers were simply too numerous to critique each one, but each sang to their strengths, and clearly enjoyed the opportunity to perform their best-loved guilty pleasures. Extra-special mentions, however, must be given to Rebecca Caine, Aaron Sidwell, Tori Allen Martin, Lauren Samuels, Kieran Brown and WestEnd Fest’s co-founder, Sabrina Aloueche for making my spine tingle with their outstanding performances.

The evening also showcased a selection of songs from two new musicals which are both worth watching out for. ‘The Mill on The Floss’ is a catchy production of George Eliot’s tragic story of the battle between morality and desire; while ‘Twenty Seven’ is a new story with a superbly emotional score, performed with gusto by the supremely talented Ross William Wild and other members of its excellent cast.

WestEnd Fest is a bi-annual fundraiser for the Cystic Fibrosis Trust and CRY UK, a children’s cardiac arrest charity. Based on the quality of last Sunday’s show, I urge you to buy tickets as soon as the next one is announced.

Follow @WestEndFests on Twitter or ‘Like’ their Facebook page to be the first to hear when tickets go on sale.

9th March 2014
Will Young to headline LGBT mental health charity benefit

PACE, the LGBT mental health charity, is holding a very special event on Thursday 27 February at Café de Paris to mark their 30th anniversary, dubbed ‘Bright Night: a bit of a do about something that matters’.

The night will feature PACE’s new Patron, Will Young alongside the brilliantly acerbic comedian Jen Brister, and is being held to raise much-needed funds to help this charity to continue providing vital services to the LGBT community. There will be an auction, lots of music, dancing and laughter.

Some of the auction prizes are quite astonishing, including a specially-made Grayson Perry sculpture, a Versace suit worn by Elton John, a ski holiday in the French Alps from European Gay Ski Week, a private capsule on the London Eye and many others (see the full list below).

PACE provide face-to-face and online support, counselling and advice services covering all aspects of life, including relationships, coming out, mental health and domestic abuse. Although London-based, they provide services nationwide so LGBT people anywhere can access the support they need.

Unfortunately, recent funding cuts have meant that PACE is facing some tough times ahead and Bright Night is an opportunity to raise the essential funds that keep their services running.

Tickets for this glitzy and fun night are £55 (or £120 for VIP, which includes a meet and greet, private lounge and VIP bar). We have negotiated a 30% discount for our readers by entering promo code LTDGAYUKPROMO at http://bright-night.eventbrite.co.uk/

AUCTION PRIZES:
A ski holiday in the French Alps
A specially-made piece by 2003 Turner Prize winner Grayson Perry
A fabulous Versace suit worn by Sir Elton John
A private capsule on the London Eye for up to 12 guests including priority boarding, 3 bottles of champagne and entry to the 4 D cinema experience
Two tickets to see Jane MacDonald with the opportunity to meet her after the show
A 3 night stay in 5* Lanlas Farm, West Wales for up to 5 people with an energy healing session or yoga session with deep relaxation
Vouchers and Wine from Tesco
Lush gift set
Will Young’s signed autobiography
5 signed books from Sarah Waters
A signed copy of Stephen Fry’s The Fry Chronicles
Money boxes from the Paul O’Grady Show
Signed memorabilia from Clare Balding
A signed book from Gok Wan

24th February 2014
THEATRE REVIEW | Ushers The Front Of House Musical, The Hope Theatre

USHERS is a bright new musical from Kouban Productions with a book by JAMES ROTTGER. Centred around 5 ushers and their overbearing manager, there are enough in-jokes to please anyone who has ever worked front-of-house, but not so many that non-industry folk would be put off.

It is opening night of a new jukebox musical, ‘Oops! I Did It Again’, based on the songs of Britney Spears and starring Marti Pellow as Kevin Federline and Michael Ball as Britney’s mum. Ben (LIAM ROSS –MILLS), Gary (WILL JENNINGS), Stephen (ROSS MCNEILL) and Rosie (CHLOE BROOKS), four long-standing ushers, are joined by Lucy (ABIGAIL CARTER-SIMPSON), a newcomer to their ranks and their “spend-per-head” obsessed supervisor, Robin (RALPH BOGARD).

Two very different romantic relationships play out in front of us. Ben and Gary have been together for three years but now face a 12-month separation. By contrast, Lucy and Stephen have only just met and their encounters provide one of the several recurring jokes of the show, with dramatic lighting and intense music highlighting the instant attraction – a clever dig at the intensity and speed of on-stage relationships.

YIANNIS KOUTSAKOS’ score is visioned and exciting, with catchy numbers and a particularly touching duet between Ben and Gary. Lively and exciting choreography from RUSSELL SMITH and GEMMA FULLER complements the score perfectly.

The cast are energetic and engaging, and carry their roles with ease. Will Jennings is an excellent Gary, and the duet mentioned earlier shows off his voice beautifully. Chloe Brooks is a very talented comic actor with a classic musical theatre voice.

Ross McNeill is an exceptionally strong and believable performer, as is Abigail Carter-Simpson. McNeill’s fine voice is showcased perfectly in his solo number, and Carter-Simpson’s has a beautiful quality that left me wanting more. As fairly recent graduates, they are both well worth watching out for in the future.

Ralph Bogard plays the power-hungry supervisor, Robin, with conviction and he leaves us in no doubt that he can belt out, and hold, a tune. Unfortunately, his character has the one part of the production which really doesn’t work – his training sessions add little to the story, and the word definitions which follow are rather demeaning to an intelligent audience. Although tiresome, these interruptions are blissfully short, and we soon return to a plot which stands perfectly well without them.

However, the stand-out performance of the night, for me, came from Liam Ross-Mills. His vocals had a slightly dodgy start on the evening I attended, but he soon found his voice and lifted it to something quite delightful. He performs with an intense vulnerability, stealing the show – difficult task amongst such a talented cast.

Ushers is the first production in the brand-new Hope Theatre, a 50-seat performance space above the Hope and Anchor pub in Islington. Exclusively committed to showcasing new writing, the Hope Theatre opens with an Equity agreement already in place to ensure all performers and stage managers are paid an approved rate, something that disturbingly few small-scale fringe theatres have.

Ushers is a great show performed exceptionally well with a lively and entertaining score, and should be a must-see for any musical theatre worker or fan this month.

Ushers: the Front of House Musical plays at the Hope Theatre until 30 December. Tickets £15 from www.thehopetheatre.com

10th December 2013
THEATRE REVIEW | Dick Comes Again

★★★ Once again, Leicester Square Theatre has provided an outrageously camp panto that hovers on just the right side of obscenity.

Dick (Dave Bibby) and his trusty but drunk sidekick, Dave the Cat (Nick Read), agree to help Alice Fitznicely (Laura Hyde) sail the Leaky Vessel up Streaky Crack to find her family jewels and the key to her chas-titty belt. They are aided and hindered along the way by Sofonda Cox (Soho legend, The Very Miss Dusty ‘O’), Queen Runt (Paula Masterton) and Fairy Bell-End (Laura Curnick).

With a few of last year’s jokes re-used, this production could, perhaps, have benefitted from some more original material, but it’s a small complaint. The old jokes are still relevant and the new ones manage to shock and delight in equal measure – there were a few audible gasps from the middle-aged ladies sat in front of me who shrieked and squealed throughout the evening.

The innuendos come thick and fast in almost every line of Stuart Saint’s script with moments of genuine hilarity. Plenty of twerking and some superb performances from the very colourful cast further enhance the deliciously filthy pantomime atmosphere.

The best laughs of the night, for this critic anyway, come from Dave the Cat, a drunk sexed-up version of Puss from Shrek (complete with dodgy Spanish accent). Nick Read performs his role brilliantly and shines through an already bright cast. Laura Hyde’s Alice is another particularly splendid performance, playing the role in the time-honoured over-the-top panto manner.

Golden showers, S&M, Asian ladyboys and even a 14” dildo complete the ingredients for this fun Soho night out with plenty of suitably cringe-worthy audience participation.

DICK! COMES AGAIN: BIGGER, LONGER, HARDER! plays at the Leicester Square Theatre until 19 January.

6th December 2013
THEATRE REVIEW | Julie Madly Deeply, Trafalgar Studios

★★★★ | Julie Madly Deeply, Trafalgar Studios

Julie Madly Deeply is an affectionate look at the life of one of the most iconic stars of stage and screen, Dame Julie Andrews.

Lifelong fan, Sarah-Louise Young, already a well-known name on the cabaret circuit, quips and quotes her way through the show she wrote with an eloquent ease, interspersing anecdotes with just some of the many songs Andrews is best known for from Thoroughly Modern Millie, Mary Poppins, The Sound of Music, My Fair Lady and The Boy Friend.

Young infuses the show with her natural warmth and plenty of wit, and her devotion to Andrews is evident throughout. She speaks of her with passion and charm, using her perfect diction and clear singing voice to effectively mimic the star. Young’s versatility is evident as she effortlessly jumps between characters, including Audrey Hepburn and a deliciously slurring Liza Minnelli who pops up with familiar regularly.

Musical Director Michael Roulston plays a perfect role, supporting and guiding Young throughout. His comedic flair and wonderfully expressive manner adds a great deal, and their chemistry is clearly visible.

The staging is sparse, with just a chair, microphone and piano, but no more is needed. The focus is entirely held by Young and Roulston, and the characters they weave into this story (including a penguin that requires some help to leave the stage).Post-interval, one more prop arrives, in the form of a truly extraordinary Alpine landscape covered dirndl. Never before have I seen a movie so accurately embodied in costume.

There is not a dull moment in either Act, and Young joyously wraps the evening up with what can only be described as a “Sing-along-a-Julie” finale, which has even the shyest audience member singing along to a medley that reminds us all just how many of Andrews’ songs are embedded deep within us.

A thoroughly modern retrospective which is wholly deserving of a sell-out run, Julie Madly Deeply is a witty, charming and entirely fitting tribute to a true star. I have no doubt at all that, if Julie herself were to see the show, she would be deeply flattered.

Julie Madly Deeply plays at Trafalgar Studios until 4 January, 2014. Tickets are £20-30 from http://www.atgtickets.com/shows/julie-madly-deeply/trafalgar-studios/ and well worth every penny.

2nd December 2013
INTERVIEW: Happy Day’s Amy Anzel “As Homophobic As A Rainbow”

Much has been made in the press recently of homophobic comments.

Whether it’s James Arthur’s lyrics, James Arthur’s apology, James Arthur’s tirade at Lucy Spraggan or, well.. it’s mainly been James Arthur. But, hidden amongst this is a little storm that blew up around Happy Days the Musical producer Amy Anzel following a Channel 4 documentary, The Sound of Musicals.

Steven Hardcastle was auditioning for Happy Days, based on the popular TV series set in 1950’s America. This was not a time for overt, or even hidden, displays of gay behaviour, and so Amy suggested to one of the dancers that he “strip away the gay” to fit in with his character. When he didn’t react, Anzel wondered if she was mistaken. “You are gay, right?” she enquired, to which she received a positive response. “That’s fine,” continued Amy, “I love my gays!”

Never one to miss a publicity opportunity, John Barrowman immediately baited his Twitter followers with ”Holly Shit! Did Amy Anzul [Sic] actually say that about Gay’s “I love my Gays, Strip away the Gay” #soundofmusicals jb”

Amy has since been branded homophobic. Knowing this not to be true, I caught up with her to ask how she feels about the whirlwind her comments caused. I also asked where she got that amazing “lion” hairdo, because that’s what we all really want to know, right? RIGHT.
Happy Days looks fantastic. How did it come about?

“I acted in the developmental workshops in LA about 10 years ago when Garry Marshall (Happy Days creator) was turning the TV show into a musical, which was always his dream. I loved being a part of the show and the process. When I moved to London in 2009, 1950’s Americana was doing really well in the West End with Jersey Boys, Grease and Hairspray, and it seemed the British would really love it, so I optioned the rights to shop it around and see what I could do. The show came together and fell apart a few times, but here we are now. Happy Days finally came together with the right team behind it and it took almost five years. Everything takes time.
I have a co-producer on board who comes from a financial services background, and he had this brilliant idea. Normally, theatre investment has been reserved for the really wealthy because, if you want to put money into a show, you have to put in £10-20,000. There are a lot of people who are supporters of the arts, lovers of theatre and lovers of Happy Days that want to support the show but might not have £10,000, so we let them put in as little as £10 and they still get a profit if the show makes one. We already have over 230 investors and all those people will talk about the show and own a piece of it.”

How is the UK production different from the US one?

“Garry’s making changes to the script – not making it British but some words and references don’t translate. Two songs have been added and, of course, the direction and the design can make or break a show it. To me, the American production just took the TV show and plopped it on stage. We have tremendous ideas how to really make it slightly larger than life but still be truthful and real, and pay homage to the TV show. We have a lot of big plans for it. There will definitely be a wow factor. There might even be a moment where Cheryl Baker rips off her skirt. You’ve got to give the audience what they want. I don’t think you can have her in a show without doing that.”
You have an excellent cast. How did Cheryl Baker get involved?

“We love Cheryl Baker. We’re so thrilled, and on tonight’s episode of The Sound of Musicals you’ll see her audition. We had seen a few other stars and she walked in and just was Mrs Cunningham. She was maternal, warm, lovely, sweet and kind, and then she sang and wowed us. She could not be a more perfect Mrs Cunningham.
People also know Heidi Range as a singer (Atomic Kitten and Sugababes), but not everyone knows that she is a really good actress. People won’t know it until she steps onto stage.”

And the rather delicious Ben Freeman as The Fonz!

“I thought The Fonz would be easier to cast. It’s an iconic role so there are big shoes to fill. We saw a lot of star names once again and either they were not triple threats or they were just not cool. It’s hard to really want a role and still be laid back, and Ben just was. Fonzie was the only role we had to get approval for so we sent his audition to the creators. They love him and think he did a fantastic job. We start rehearsals soon, and Henry Winkler is coming in once a week to work with the cast.”

Why did Craig Revel Horwood leave?

“Craig’s a very busy man and wanted us to push our dates back. We have a January opening but, because he has so many commitments that need his time, he felt that an April opening would better suit his schedule. Obviously we can’t cancel half the tour, because we have a great tour booked.”

As a producer and an actress, what is the best way for you to give or receive criticism?

“I’ve always embraced constructive criticism. I don’t think you can grow as a person without being able to accept and absorb it. Usually it’s helpful and the more it stings, the more it probably needs to be dealt with. Maybe, being a performer since I was a child, I’ve always been used to it so, when I give it, I don’t always think twice that perhaps someone’s quite sensitive. I do think that it’s important in this industry – if someone says your dancing isn’t good enough, go take some dance classes. I think, in terms of constructive criticism, just accept it.”

You received a fair bit of criticism yourself recently for what you said to Steven Hardcastle. Is there anything you’d like to say to those who took offence?

“I just wish John Barrowman spelled my name right!
Seriously, I don’t understand, I was just asking him “You are gay?” that’s not approving or disapproving. I don’t necessarily agree with defending myself but I’m happy to explain.
I would have said to a straight person auditioning for a gay role to strip away the straight and be more gay. It goes both ways. Everyone in the room signed a release and understood that their audition and any conversation could be captured, so everything in that room might be on Channel 4. It’s not like people were standing around in a semi-circle watching that interaction. I was having a quiet word with him away from the group but the cameras were there. He knew it and I knew it. Channel 4 has a legal team that reviewed all this material before it was broadcast.
Steven’s second performance was really good, and he would have had a really good chance. Unfortunately, by the time we cast the show, he had committed to another project.
I was surprised that people got so upset and took it so personally, but people don’t know me and my background. In January 2012, I was on the cover of Boyz magazine and I did three gay shows in a row. Almost my entire creative team is gay. I got this email from one of them who doesn’t want to be named so he doesn’t get drawn into this: “You, Amy Anzel, are about as homophobic as a rainbow.”

How was it patronising? I don’t understand that? How is asking someone if they’re gay patronising? Someone asked me yesterday “Are you Jewish?” and I said “Yes!” I wasn’t offended at all! Did the dancer feel offended? Ask him. Ask him on Twitter!”

Steven’s Twitter feed clearly shows he thinks it’s hilarious and did not feel at all patronised. He also suggests we start a #LoveMyGays hashtag!
My feeling is that we can safely put the upset to bed and look forward to Happy Days the Musical, safe in the knowledge that the producer really does love her gays. And this gay loves her right back.

The next episode of Sound of Musicals (featuring Cheryl Baker’s audition) is on Channel 4 tonight (Tuesday 26 November) at 9:00pm. Happy Days the Musical tours the UK from January 2014. Watch this space for an exciting Happy Days giveaway coming soon!
Oh, and the hair was at John Frieda.

26th November 2013

REVIEW: LoveLite’s Lipoglaze – The Lunchtime Lipo

LOVELITE’S LIPOGLAZE is a revolutionary non-invasive fat-reduction procedure that is new to the UK, although it has been around in the US for several years.

Author: Robin Foreman-Quercus

In case you’ve been asleep for the last day or so, the Commonwealth Games Opening Ceremony took place last night. In amongst the usual song and dance of such an affair, something relatively insignificant happened: a person kissed someone.

We catch up with the gorgeously camp and ever youthful Cheryl Baker. Famous for ‘that’ skirt moment, winning Eurovision, Christmas Top of The Pops and co-hosting Record Breakers. Cheryl we bow down to thee….

USHERS is a bright new musical from Kouban Productions with a book by JAMES ROTTGER. Centred around 5 ushers and their overbearing manager, there are enough in-jokes to please anyone who has ever worked front-of-house, but not so many that non-industry folk would be put off.

★★★★ | Julie Madly Deeply, Trafalgar Studios

Much has been made in the press recently of homophobic comments.

LOVELITE’S LIPOGLAZE is a revolutionary non-invasive fat-reduction procedure that is new to the UK, although it has been around in the US for several years.