THEGAYUK

Author: Robin Foreman-Quercus

  • THEATRE REVIEW | The Picture of Dorian Gray at Dorian Gray’s Townhouse

    ★★★★ | The Picture of Dorian Gray at Dorian Gray’s Townhouse

    Staged in a Georgian townhouse in Greenwich “modernised” to suit a wealthy Victorian resident, The Alchemist Order have presented an exciting and innovative production of this classic Oscar Wilde play.

    For those that don’t know the story, The Picture of Dorian Gray is the tale of a young man who trades his soul for eternal youth and beauty. As he lives a life of hedonism and decadence, a portrait painted of him as a young man ages in his place. Often cited as one of the finest examples of Gothic literature, The Picture of Dorian Gray is exquisitely dark but peppered with Wilde’s trademark wit.

    Dorian, played by the brilliant Mia Hawk, is both innocent and debauched, and Hawk conveys both with conviction. Although momentarily distracting that he is played by a female, the combination of great acting, inventive staging and clever writing soon forgives this. Chatting to the cast after the performance, I learned that Mia had less than a week to rehearse this role following an injury to the original actor, which makes her portrayal of this complex character all the more impressive.

    Samuel Orange, Creative Director of The Alchemist Order, plays Lord Henry Wotton utterly convincingly and has a natural ability to hold a stage, in even the most intimate of spaces. The interplay between Lord Henry and Dorian strikes just the right balance of tension and allure. Similarly notable is Jonathan Redfern, playing Basil Hallward, who brings a somewhat mesmerising flair to his role and is completely believable as the tortured artist.

    An outstanding highlight for me, though, is the fantastic Louise Larchbourne, whose Mrs Leaf is thoroughly engaging, and carries just the right balance of servitude and mastery appropriate for her role. From the moment one steps through the door into Mr Gray’s salon, all through the interval and right through to the time you leave, Larchbourne remains perfectly in character, entertaining and serving guests with a respectful wit.

    This is the inaugural production of The Alchemic Order, and if it is any indication of what is to come, the future of creative and imaginative theatre is very, very secure.

    THE PICTURE OF DORIAN GRAY plays at Dorian Gray’s Townhouse, 2 minutes’ walk from Greenwich station (exact address revealed upon booking) Tues – Sat until 28 September. Tickets are £35 (£25 on Tues) from www.thealchemicorder.com

  • THEATRE REVIEW | The Speed Twins, Riverside Studios

    This warm tale of love and last chances weaves together three very different characters as they are brought together in the afterlife bar, Dyke Heaven.

    Queenie, a 60-something year old ex-beauty queen, has spent her life making what she feels are the right choices by society’s norms and so is very surprised to be spending her afterlife in a lesbian bar. Polly Hemingway is wonderfully expressive and brings a warmth and softness to her character that could easily be lost beneath the difficult choices she has had to make.

    Ollie, on the other hand, is a Beryl Reid / Oliver Hardy hybrid (harking back to the days when lesbians were forced into the butch-femme role-play that is still too-often perceived as their only reality) and has lived her life true to her desires. Amanda Boxer is entirely convincing, and delivers her witty one-liners with excellent comic timing. Ollie is delighted to be in Dyke Heaven as it is so very reminiscent of the Gateways Club, a popular lesbian bar in Chelsea made famous by the 1969 film The Killing of Sister George (in which Beryl Reid dresses as Oliver Hardy). Indeed, several references to this movie are made throughout the play – both explicitly and implied.

    The arrival of Mia Mackie’s Shirley to the bar causes something of a stir. Queenie flits from rages of wild jealousy to blank-faced denial, while Ollie jumps from lustful to intrigued and back again. Mackie brings forward some very difficult emotions and handles the complicated character with skill.

    Overall, Maureen Chadwick has written a piece that is dark but tender, and infused with warmth and gentle humour throughout.

    The Speed Twins plays at the Riverside Studios, Hammersmith until 28 September. Tickets are £22.50 (£15 conc.) from http://www.riversidestudios.co.uk/cgi-bin/page.pl?l=1370426957

  • THEATRE REVIEW: Gotta Sing, Gotta Dance, UK TOUR

    ★★★★ So much more than the title suggests, Gotta Sing Gotta Dance is a true celebration of musical theatre at its very best.

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  • THEATRE REVIEW | House of Burlesque

    ★★★★ | House of Burlesque

    International burlesque sensation Tempest Rose’s House of Burlesque is an evening of comedy, circus, music, politics and, yes, several beautiful ladies wearing very little. Above all else though, it’s an evening of glamorous, decadent fun.

    The first thing to strike you as the introductory group dance starts is the sheer variety of shapes on view – not just wafer thin model types; these are real ladies with real ladies’ curves, and the evening is all the better for it.

    Tempest Rose has a natural warmth which suits her role as ring mistress perfectly. Her humour and quick wit, combined with a touch of sass and oodles of sex appeal, hold the audience in the palm of her perfectly manicured hands from the very moment she takes the stage. She has a voice as smooth as velvet and her rendition of Nirvana’s “Smells Like Teen Spirit” is one of the most beautiful covers I have heard.

    The first solo performance comes from Betsy Rose, who gives us a military themed routine, moving in perfect unison with the beat. This is a lady who knows her body and how to work it to both excite and entice her audience, striking just the right level of suggestion and sexuality.

    The wonderfully expressive Audacity Chutzpah slips from one persona to another with grace during a routine that is as comedic as it is political. As she charts the women’s rights movement through the decades, one cannot help but think that if all history lessons were like this, a lot more people would take note.

    Rapidly becoming a firm favourite of mine, the delightfully sensual Jolie Papillon performs a peacock routine that shows her off to her very best. This girl can move, and does so with a sensuality and provocative grace that is undeniably erotic. Also, as if purposefully, her peacock tail gives me the feathery fabulousness I so desperately crave, thereby restoring my gay credentials for a review in which I’m aware it sounds like they’re rapidly diminishing!

    Proving once and for all just how hot burlesque can be, Trixi Tassels enters in a black leather trenchcoat and demonstrates within seconds the command she holds over her audience. In a perfectly choreographed fire-based routine, the seams of her clothes simply melt away.

    Other excellent performances on the night come from Leonie Soprano (the vanishing showgirl), Jo Foley and Graeme Clint (comedic acrobatic trapeze duo) and Chloe Hannah Lloyd (hula hoops). All acts were ably assisted by the “Stage Kittens” Fille J’adore and Gracie Disgrace.

    Whatever your persuasion; whether you fancy men or women, both or neither, or any variation thereof, this is a deliciously decadent night that dazzles and delights all who attend.

     

    House of Burlesque returns to the London Wonderground on September 5 and 11. Tickets are £15.50 from www.londonwonderground.co.uk/houseofburlesque

  • THEATRE REVIEW | Titanic, Southwark Playhouse

    ★★★★ | Titanic

    It’s always difficult to reinterpret a story we all know as well as that of the Titanic – certainly, the ending can be no surprise (SPOILER: THE SHIP SINKS), but this brand new production does manage to stir up some new human stories from onboard the ill-fated vessel.

    Unfortunately, it does this on a set that I found as uninspiring as the music. On a story we know this well, emotional investment is crucial and it is a huge disservice to an otherwise excellent musical that so little feeling comes across. This was, in no way, the fault of the excellent actors and musicians, but rather of the sound design which simply didn’t carry any real feeling forward. I first felt a stirring of emotion towards the end of Act 2, with the heart-breakingly touching song Still by the elderly Straus couple (performed wonderfully by Judith Street and Dudley Rogers) as the ship disappears beneath the waves.

    Other notable performances came from James Austen-Murray, Jonathan David Dudley, Philip Rham and Simon Green.

    The passengers are introduced during a lively number, according to their class, and the aspirations that the Titanic carried are conveyed incredibly well throughout, but never more so than during Lady’s Maid, midway through Act 1.

    Cressida Carre’s choreography is lively and inventive, and in keeping with the emotion that the music is intended to carry, as is excellent direction from Thom Southerland. Unfortunately, this is also let down by some aspets of the set design. I have a fairly vivid imagination, but transforming a black stage with a single white table, set in a distinctly average style, into a first class saloon was just too much for even my mind to manage.

    Despite these few failings, Titanic carries a particular magic through its inventive writing and original score. I particularly enjoy that the focus is on four separate couples – just the right amount of stories to get involved with on a production of this scale, and the interplay between the ship’s designer, owner and captain is excellent. It is very worth seeing and, if you can allow the design issues to float by, you will be fully immersed in a very enjoyable production with some truly excellent performances.

    TITANIC plays at the Southwark Playhouse until 31 August. Tickets are £22 from

     

    http://southwarkplayhouse.co.uk/the-large/titanic

  • THEATRE REVIEW | WAG! The Musical, Charing Cross Theatre

    I have struggled over writing this review for a full week, primarily because I just couldn’t find the words to describe the excitement, hilarity and fabulousness that went into… oh, no, wait, that was another show. This was just awful.

    Awful.

    Anyone who knows me will know that I champion London theatre as much as possible. I think we are in really exciting times with new challenges and technology bringing a whole new mindset to the stage. However, WAG! is a blemish -a very, very dull blemish – on the London stage, and one I would be happy to see the back of.

    The plot revolves around two female shop assistants, each in an ill-advised relationship (one with a married man; the other with an abuser). All day, they serve the bevy of glamorous WAGs that come through the department store and dream of becoming one of them.

    THE POSITIVES (both of them): Katie Kerr as the fabulous Blow-Jo was a delight every moment she was on the stage. Out of the show’s characters, she was the only one I warmed to even slightly. Alyssa Kyria appeared as her regular character, Ariadne the Greek Wag, who is fairly well-known on the comedy / cabaret circuit. Kyria wrote her scenes herself, and they very much stood out from the tedium.

    Acting-wise, Tim Flavin played Mr Frank well. However, the character was a tired old cliché and not one I enjoyed watching. In fact, I enjoyed watching Lizzie Cundy more, mainly to see if I could spot her apparently-Botoxed face move. On the plus, she is at least the genuine article – a real-life WAG, and definitely looked the part.

    A succession of other, equally forgettable characters “graced” the stage. Another WAG, another bad actress, a camp designer, each as dreary as the last.

    I simply cannot spend another minute thinking about this complete travesty of a show, so I will leave you with the words of Andrzej Lukowski of Time Out, who says: “Wag! sort of blunders on in a dull, well-meaning muddle, two-and-a-half drab, weakly-sung, low-budget hours.”
    Well said, Andrzej. Well said.

    WAG! The Musical is listed at the Charing Cross Theatre until 24 August, although I can’t see it completing the full run. I heard on the grapevine they’re hoping to tour it in 2014 too. Tickets cost… oh, I don’t know. Save your time, money and sanity by not buying one.

  • THEATRE REVIEW | Velma Celli, Hippodrome Casino

    The stylishly sophisticated Hippodrome Casino is exactly the right venue for this glamorous, exquisitely fun evening of songs, bendy men and burlesque, hosted by the very fabulous Velma Celli.

    Each of the performers are a delight, but none outshine Velma herself, who sings and dances her way through the evening with a dazzling presence that is captivating and hugely enjoyable. The alter-ego of Ian Stroughair, a well known name on the West End stage in his own right, Velma takes the drag concept to whole new dizzy heights, ably accompanied throughout by Musical Director, Joe Louis Robinson.

    This evening’s guest performer is Jordan Lee Davies, who recently appeared on The Voice. He is a little lost on some of the harder notes of his otherwise beautiful rendition of ‘Just Like A Pill’, but leaves us in no doubt of his vocal capabilities when he performs ‘Suddenly Seymour’ as a duet with Velma Celli. My notes from his performance simply state “Every so often, hits a note that is so perfect it’s f**king scary!”

    Amanda Posner has a voice so smooth it is like melted chocolate and is a genuine privilege to hear. Posner returns in Act 2 as her alter-ego, Mr Fox, who adds a fabulous twist when he duets with Velma. It is a rare treat indeed to see a Drag King and Queen duet performed with such vocal precision. Their ‘Ode to Kerry Katona’ is comedy gold, and sums up what the majority of their audience feel about Katona’s recent casting as Marilyn Monroe in Norma Jeane the Musical.

    An extra dose of glamour, delight and sensuality arrives in the form of Jolie Papillon, who teases us to breathtaking perfection. Everything a burlesque performance should be, Ms Papillon’s routine is sexy, funny, expressive and very, very cheeky. I have long been a fan of burlesque when it is performed well, and this is an absolute pleasure to watch.I mentioned bendy men earlier, and the first of these is Jonathan Finch who is listed simply as a “hand balancer,” which does neither him nor his act any real justice. Finch performs acts of strength, balance and, yes, bending that frankly defy the laws of physics.

    Another bendy man comes in the form of Ben Brown, who performs some of the best aerial hoop work I have seen. A visual treat, Brown is stunningly attractive and it is hard not to be mesmerised by the sheer physical perfection of his boxer short-clad body. However, the grace and dexterity he displays with his hoop soon outshine anything else as he twists into seemingly impossible shapes with breathtaking precision.

    All too soon, the evening is over, and I leave the Hippodrome with that wonderful rush that can only be gained from seeing something so exceptionally wonderful. I am left in no doubt that the name on everybody’s lips is, indeed, going to be Velma.

    Velma Celli next performs at the Hippodrome Casino on 22 August. Tickets range from £10-£30 and are available from http://www.hippodromecasino.com/velma-celli-show.

  • KIM WILDE | Gay icon who rocks the kids

    I initially hesitated in choosing Kim Wilde as my icon as it’s difficult to think of her as ‘vintage’ but my musical love-affair with her started 30 years ago so she probably qualifies (even though, by default, that also marks me as a certain age)!

    I was 5 years old when I received a gift of my first ever album – a cassette of Kim Wilde. Her self-titled debut album, featuring the iconic Kids in America, went Gold in the UK and Germany, and also hit the Number 1 spot in the Netherlands and Sweden. More importantly, it set in motion a chain that would lead to me developing an obsession verging on the unhealthy.

    Kim Wilde’s not my only musical obsession. I also own everything ever released by Kylie and Bonnie Tyler, but she was my first so holds a very special place in my heart. Plus, she was born just down the road from where I now live which automatically marks her as fabulous.

    Speaking of her birth, let’s take a moment to investigate her pedigree. Her father is the well-known rock ‘n’ roller Marty Wilde and her mother, Joyce was a member of The Vernons Girls. Her brother, Ricky, has co-written and produced most of her hits and her sister, Roxanne, is Kylie Minogue’s backing singer. With genes like that, there’s no wonder Kim became such a sensation.

    By the age of 20, Kim was signed to RAK Records, home to Susi Quattro and Hot Chocolate among others. Her debut single, Kids in America, was an instant success in the UK, France, Germany and Australia. In 1983, she received the Brit Award for Best British Female and, four years later, “You Keep Me Hangin’ On” made Kim Wilde only the fifth British solo female to top the US Hot 100, following in the hallowed footsteps of Petula Clark, Lulu, Sheena Easton and Bonnie Tyler.

    The following year, 1988, saw the release of her most successful album to date (and my personal favourite), Close. Remaining in the UK Top 40 for almost 8 months, Close spawned 3 major UK hit singles (“You Came, Never Trust A Stranger”, and “Four Letter Word”) and tied in with Kim joining Michael Jackson on his Bad World tour.

    Fast forward a few years, and she became a YouTube viral sensation in December 2012 when a video surfaced of a somewhat inebriated Kim serenading a trainload of commuters with two of her best-loved hits, “Kids in America” and “Rockin’ Around The Christmas Tree”.

    Clearly developing a taste for public transport gigs, March 2013 saw her break the world record for the highest ever concert – performing an acoustic set with Tony Hadley, Bananarama and Go West on a Boeing 767 at 43,000 feet.

    She is also known for her support of gay rights, speaking out in favour of the Belgrade Pride parade and stating “You cannot know how much something like that pleases me.” when asked how she feels about having a particular place in the court of the gay public

    With a 33 year career covering 17 albums (and rumours of another on the way), 2 books, 3 TV series’ and many award-winning garden designs, it’s something of a miracle that she still finds the time to perform live. But she does, and it’s nothing short of spectacular. I last saw her at the Rewind Festival in 2011 and she outshone every other artist with the 30,000-strong crowd singing along and dancing to a non-stop string of hits. Kim will be performing at The Rewind Festival in Henley-on-Thames (16-18 August) and the Rewind Scotland festival (26-28 July) again this year, and has just announced dates for the Kim Wilde’s Christmas Party (18 Dec – Bristol, 19 Dec – Birmingham and 21 Dec – London).

    Kim – for being the first ever music I owned, for being the first music I bought myself, for being the most-charted British solo female of the 1980s, for loving the gays, and for being a fabulously drunken lush on a train, I salute you. Here’s to the next 30 years!

     

    Opinions expressed in this article may not reflect those of THEGAYUK, its management or editorial teams. If you’d like to comment or write a comment, opinion or blog piece, please click here.

  • THEATRE REVIEW | Bare The Rock Musical, The Union Theatre

    After seeing several of director Paul Taylor Mills’ previous productions, I thought I knew what to expect from bare: the rock musical, but I was genuinely swept away by this fresh and dynamic tale of teenage love and angst.

    An exquisitely sexy musical with an extremely talented and equally alluring cast, I laughed and cried with the characters as every emotion is played out in front of us. Heartstrings were tugged in every direction, whilst my every sense tingled with the visual and aural treats of this vibrant production.

    Written by Jon Hartmere and Damon Intrabartolo, bare tells the story of a group of teenagers at a Catholic boarding school discovering love and, by default, themselves. Told with such absolute warmth, the audience is provided an extremely intimate view into the lives of these youngsters. There are some beautifully tender moments in amongst the lively, fast-paced action and I can’t remember the last time I felt so emotionally invested in a show and its characters. Scenes of real heartbreak are gently softened with an expert use of humour, providing not just relief but also some genuine laugh-out-loud moments.

    Jason (Ross William Wild) and Peter (Michael Vinsen) are in a clandestine relationship, as rocky as it is secret. As they are pulled apart, Ivy (Lilly-Jane Young) is quick to take advantage of Jason’s newly single status which breaks Matt’s (Dale Evans) heart and angers Nadia (Melanie Greaney), all set against the backdrop of rehearsals for the school production of Romeo and Juliet. Confused? This is the tangled web that is brilliantly interplayed in this highly emotional rollercoaster as we watch relationships and, indeed, lives torn apart. Throw in a steadfastly conservative mother (Yvette Robinson) who refuses to allow her son to come out (even to her), a possibly-closeted priest (Matt Harrop) and a strict Sister with a sideline in sass (Hannah Levane), and you get the picture.

    Will Burton’s casting is beyond superb on this production. The leads are exceptional and supported by a hugely talented ensemble. I was particularly struck by the sensitivity between Wild’s Jason and Vinsen’s Peter – so touching it is very easy to see the love between the two characters.

    Ross William Wild is captivating and his brilliant eyes tell every emotion Jason feels, a detail rarely seen so honestly portrayed. Michael Vinsen is equally expressive and particularly skilful at using his voice to convey emotion.

    Other notable performances came from Lilly-Jane Young and Dale Evans. Ivy’s vulnerability and longing is visible throughout but never more so than during her solo number, All Grown Up. Her handling of some particularly tough scenes displays a sensitivity and grace far beyond her years. Her suitor is portrayed beautifully and intelligently by Evans with Matt’s desperation for Ivy’s attention clearly visible.

    Jason’s sister, the larger than life Nadia is played expertly and utterly believable by Melanie Greaney, who is an absolute pleasure to watch and listen to. It’s difficult to comprehend that this is Greaney’s professional debut with the strength and skill she so visibly exhibits here. Indeed, for many of the cast, bare marks their professional debut – and what a debut it is!

    The outstanding performance of the night though has to go to Hannah Levane’s fabulously feisty Sister Chantelle. With a strong, powerful voice that is bang on the note, it was a rare and exquisite privilege to hear her so close.

    The intensely beautiful score is complemented perfectly by Racky Plews’ tight choreography, which is perfectly executed throughout.

    Paul Taylor Mills’ vision is, as always, thoroughly engaging and enlightening. It’s rare to come out of a show feeling so wholly fulfilled. Without a doubt, bare is one of the very best things on the London stage at the moment and, if you don’t see this production, you’re missing out on something very special indeed.

    bare: the rock musical plays at the Union Theatre, Southwark until 25 May. Tickets are currently sold out, but it is very definitely worth checking the website regularly and asking the venue for returns.

     

    http://www.uniontheatre.biz/#/bare-the-rock-musical/4574150801

  • THEATRE REVIEW | Desperately Seeking The Exit, Leicester Square Theatre

    How do you turn one of the West End’s biggest flops into a success? Turn its story into a 70 minute hilarious monologue, of course! And that is exactly what writer Peter Michael Marino has bravely done here.

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  • THEATRE REVIEW | Californian Lives

    Issues surrounding love and trust are often explored in a variety of ways, but this powerful and original production written by Martin Foreman and directed by Emma King-Farlow has brought something entirely new to the table. A series of three monologues, Californian Liveslooks at what it really means to three very different characters living three very different lives.

    In the first piece, Los Feliz, performed intensely but very well by Robin Holden, a young man falls in love with a beautiful woman and concocts an entirely fictional life in order to get close to her. As he weaves his tale, the initially unlikeable character reveals his insecurities and gradually draws the audience closer to him. Holden commands the stage extremely well and holds the audience’s attention throughout; something that is inherently difficult in a monologue.

    Ben and Joe’s is a look into the lives of a group of mostly middle-aged men who while away their afternoons in a San Fernando Valley bar, united in their lust for the young barman who flirts expertly with each of them. A new arrival, Christopher, shakes their easy existence and causes a rift between the men as each of them is forced to confront their own prejudices. This difficult subject is delivered expertly by John Vernon who held the audience captivated throughout his performance.

    Finally, the evergreen treat that is Carolyn Listerbrought an instant warmth and dose of humour to Sunset with her portrayal of a grandmother reminiscing to her husband on the long life they have shared together, with its succession of highs and lows. On the surface, her story is one of a very traditional marriage, but this is soon revealed to be a somewhat thin veneer as this apparently timid character reveals a strength and resilience initially unseen.

    Californian Lives is no light-hearted feel-good piece, and not one for the faint-hearted. It is, however, exactly the kind of emotionally-charged and thought-provoking theatre that we need to see more of in this age of Disney-esque expectations.

    Californian Lives plays at the King’s Head Theatre, Islington on Sundays and Mondays until 26 May. Tickets £11.50 – £20 from the King’s Head website.