Intrigue. Attraction. Mystery. Lust. Sex. Murder. These are the themes surrounding two plays rolled into one and called ‘Spy Plays’ now at the Above the Stag Theatre.
David Thame’s ‘Kompromat‘ and ‘London/Budapest‘ are shown together for the first time, and both based on true life events where the same actors play different characters in both, 60 years apart.
‘Kompromat’ which in Russian culture is short for “compromising material”, and which has been previously performed at the Vaults, tells the chilling story of Gareth Williams, the presumedly gay man who worked for a government agency and who was found dead inside a sportsbag in the bathtub in his Pimlico flat in 2010. The show takes the story further by surmising that he picked up a man at a gay bar on that night and took him back to his flat. Guy Warren-Thomas plays Gareth, shy yet brilliant, while Max Rinehart plays Zac, the young mysterious Hungarian who seduces Gareth and perhaps had something to do with his death. In ‘London/Budapest’ it’s 1955 and Author Adam de Hegedus (Warren-Thomas), has just met a young man (Rinehart again, at his most seductive) at the Jermyn Street Baths, and takes him back to his Pimlico flat. But who is this young man? Is he who he says he is?
And did de Hegedus actually commit suicide or was he murdered?
So what links these two men? A Pimlico flat, and that both dead had connections to the spy world. And Director Peter Darney beautifully, with the help of the production team, brings it all to life on one of the stages at Above the Stag. In ‘London/Budapest‘ we are whisked to a appropriate era set with a comfy lounge chair while in ‘Kompromat‘ it’s a modern bachelor flat where death will rear its ugly head. And the acting couldn’t be better. While Rinehart has the most dialogue and delivers it with passion, Warren-Thomas Is just perfect in his duel roles and is also absolutely breathtaking when he enters the stage in ‘Kompromat’ in an outfit that’s unexpected yet very, very sexy.
For petrol heads alike, Wheeler Dealers returns this month, well today to be precise with the likeable motoring geeza Mike Brewer, the one who buys and sells the cars with easy on the eyes mechanic and very good with his hands, Ant Anstead who does the fixing of whatever Mike has plunged deep into his pockets and bought.
This series we see the following:
o 1972 Fiat 124 Spider
o 1973 Toyota Celica
o 2002 Mercedes Benz E55 AMG
o 2004 BMW M3
o Volvo Amazon 122
o Toyota Land Cruiser
o 1985 Merkur XR4Ti
o Ford Bronco
o 1982 Porsche 911 SC
That’s 6 European, 2 Japanese and 1 American. Now you might be wondering what a Merkur XR4Ti is when clearly the Bronco is the American hero of the show. The Merkur (not really a name that promotes motoring romance I have to say, is your actual Ford Sierra XR4i. It’s just very much Americanised.
You’ll find more in that in episode 6 of 9 though for my money I’ll be glued to the screen with the phone off the hook for episode 4. This is where Mike finds a 1972 Fiat 124 Spider. It’s all-original, but the driving experience leaves a lot to be desired. Mike gets crafty on the interior while Ant fixes a leaky differential and replaces a carrier bearing and axle seals.
Wheeler Dealers has been with us for many years and in that time Mike and the team have travelled across Europe and the globe to find cars to return to the garage for repairs. As is in the real world, you rarely buy a car and do nothing to it. In this series, the boys return to America to do their buying and selling. And why not, I look out to my garage and in the bleak cold damp of March, I envy the thoughts of opening the garage doors and letting in the sun.
DISCOVERY TV
So tune into Discovery channel over the next nine weeks to find out more on how Mike holds out his hand and Ant gets greasy.
An unseen stalker is wreaking havoc on the life of a San Francisco woman in the new version of ‘The Invisible Man.’
Elisabeth Moss plays Cecilia – who literally runs away from her very wealthy tech genius of a husband Adrian (Oliver Jackson-Cohen) because of his mental and emotional abuse. But Cecelia has not completely broken away from trouble – she feels like she is being watched, spied on, and stalked by someone, something. But her sister Alice (Harriet Dyer) informs her that Adrian has committed suicide, and shows Cecelia the news on her smartphone. So her sister reassures her that she is free from Adrian and all the torment that he had caused her. But her unease continues and racks up even more when strange things start to happen (a blanket pulled off from her bed, footsteps seen on the ground).
This invisible stalker becomes more bold and violent, enough so that an unseen force murders her sister in plain sight, framing Cecila for the murder. She is convinced that her ‘dead’ husband is still alive, even after being assured that he’s dead by Adrian’s lawyer brother Tom (Michael Dorman). Writer and Director Leigh Whannel (’Saw’) really ratchets up the scare factor, including in quiet moments in the film when Cecilia is tending to normal activities.
Moss is very good as the victim, and as the film creeps up to its 2 hour running time, the suspense builds, though there are a couple of moments of disbelief.
All in all ‘The Invisible Man’ is one scary film that successfully reimagines the very scary HG Wells original.
★★★★ | The Prince of Egypt, Dominion Theatre, London
Dreamwork’s animated 1998 film ’The Prince of Egypt‘ comes to life at the Dominion Theatre.
With music and lyrics by veteran composer Stephen Schwarz, and directed by his son Scott Schwartz, ‘The Prince of Egypt’ faithfully follows the film in the telling of two men – Moses (Luke Brady) and Ramses (Liam Tamne) – who were raised as brothers but, in one of the dark secrets of the family, are not actually brothers.
Moses was born a Hebrew, and after an accident where Moses pushes an Egyptian guard off a temple being built by the Hebrew slaves, he runs off and encounters what turns out to be his real sister and the real members of his family – all Hebrews. While his adopted father dies, Ramses takes over as the Pharaoh – King – while at the same time still condemning all Hebrews to a life of slavery, which will now include his brother. With the brothers divided, what will become of their relationship, and of the Hebrews who desperately seek their freedom?
The production values in this show are worth the price of a ticket. From the illuminated pharaohs and hieroglyphics, which are projected on to the sides of and on the stage, to the amazing costumes and sets, ’The Prince of Egypt’ was made for the huge stage that is the Dominion Theatre. And the dancers are all actually superb, morphing from statues to flowing water to wind to sand dunes to the burning bush where God tells Moses that he needs to return to Egypt and guide the Hebrews to freedom.
Yes, we also get to see Moses part the red sea, with videos of waves projected onto the sides of the stage to make it look like the Hebrews are actually walking between the red sea. Disney, just like their other productions in the West End, looks like they spared no expense in this production. Kudos go to Sean Cheesman, choreographer, who has guided the dancers to be practically another character in the show, to the production and set design and costumes (Jon Driscoll, Kevin Depinet and Ann Hould-Ward respectively), and the performances of both Brady and Tamne. Also, the singing voices of Christine Allado, Alexia Khadime and Mercedesz Csampai are just beautiful. While there were a couple of scenes that had us scratching our heads, overall it’s an amazing production and one not to miss.
After a mixed reception following its announcement, An Evening with Whitney, The Holographic Tour has finally kicked off in the UK. With a mix of live backing dancers and musicians, the musical legend returns to the stage in holographic form to bring the audience an 80-minute show packed with her greatest hits.
There was no denying that the technology behind the show was jaw-dropping, and certainly from where we were sat in the dress circle, Holo-Whitney looked fairly impressive at times. There were the odd brief moments when you could almost forget that you were effectively watching a computer-generated image as you got caught up in the music, but those moments were fleeting and few and far between, as Holo-Whitney appeared and disappeared, fading in and fading out in an almost ghoul-like fashion between songs.
In terms of overall presentation, the live band was good, the backing singers held their own, the dancers made the best of the lacklustre choreography and the light show was adequate; although one has to wonder whether the abundance of spotlights flashing into the audience was to blind them to detract from the quality of the special effects on stage.
What was a pleasure, though, was to hear Whitney’s voice belt out her greatest hits in a concert venue backed by a live set of musicians, and the show was a reminder of just what a talent she was and how incredible she was as a live performer. The choice of songs would sit comfortably on any greatest hits album and covered a broad range of her work, ticking every Whitney staple you would expect.
Despite the music, the show can only be described as hollow (no pun intended). Holo-Whitney’s forced, generic one-sided banter with the audience felt almost as awkward as Holo-Whitney gushing as she received rapturous applause; although the rapturous applause anticipated by the creative team was, in reality, the bemused audience merely politely clapping and muttering to each other.
The four backing dancers looked lost on stage and were positioned in such a way around the set, it was as if they were dancing as far away from the technology as the insurance company would comfortably allow, and the interaction between star and backing dancers that you would usually expect during a live music event was noticeably missing. Adding to this was the tiny portion of the stage that Holo-Whitney occupied with her limited dance moves, shifting only a matter of a couple of metres each way from the centre of the stage and compounding the stilted, mechanical feeling of it all.
But the biggest criticism of all was that the evening was flat. There was none of the atmosphere, chemistry or relationship between artists and audience that makes a live music event such a great experience. Any live performer feeds off the energy of the crowd and gives it back to them, but this simply wasn’t possible and it really couldn’t have been more noticeable. There was no buzz in the auditorium and even the crowd, especially towards the end of the evening, couldn’t take it seriously. It simply felt cold and sterile; creepy and distant.
So, does An Evening with Whitney feel like a befitting tribute to a legend or more like a cynical cash in? The answer probably lies somewhere in between, albeit gravitating significantly more towards the latter. If you want to listen to Whitney Houston’s voice, then download her original recordings. If you want to go to a concert, then seek out a good tribute act, where at least there will be some energy coming from the stage. It felt that for many in the audience, the show was little more than a morbid curiosity which promised more than it delivered; and one which rapidly lost the majority of its appeal once the short-lived novelty of Holo-Whitney had worn off.
Beautifully shot and superb performances are just a couple of the reasons to go see ‘Portrait of a Lady on Fire.’
In French with English subtitles (and nominated for an Oscar for Best Film in a Foreign Language) ‘Portrait of a Lady on Fire’ is a story about forbidden love set against the backdrop of a very different time and place.
On an isolated island in Brittany in the 1770s, a female painter is hired by the mother of a young woman to paint a portrait of her daughter to send to a prospective husband. Yet Heloise (Adèle Haenel), is not very excited about both the prospect of marriage and of having her portrait painted.
But somehow Marianne (Noemie Merlant) gets Heloise to warm to her, to pose gracefully, and soon enough they become close, enjoying walks on the beach, and time at Heloise’s stately home – more so when her mother leaves the house in order to give Marianne the freedom to paint. Marianne and Heloise start a love affair gently, softly, emotionally, and naturally – as it was bound to happen. Director and writer Céline Sciamma (‘Tomboy’ and ‘Girlhood’) elicits true passion from her actors without revealing too much in a film that’s original, romantic, thoughtful, wistful, and will leave you thinking about it for days after you’ve seen it.
It’s a truly remarkable film that’s won lots of awards and was selected to compete for the Palme d’Or at the 2019 Cannes Film Festival, winning the Queer Palm there. Sciamma also won the award for Best Screenplay at Cannes.
When you walk into a theatre and you see that the set is a grand staircase leading into a living room with a large statue of David and various photos of men and drag queens on the wall you know you’re in for a drag of a time. This is exactly what ‘La Cage’ delivers.
Actor Simon Callow adapted the show for the stage, who was asked to write an English version of the original 1973 play (which inspired three french films, a hit musical, and a hit American film – The Birdcage). Directed by Jez Bond, ‘La Cage’ is written in its original time and location, and French speaker Callow astutely brings the flavour of the original farce to life.
Drag queen extraordinaire Albin (Paul Hunter) and Georges (an amazing Michael Matus) own and live above drag queen bar La Cage, along with their extremely camp butler Jacob (Syrus Lowe) who can sure wear high heels. Georges’ son Laurent (Arthur Hughes) arrives to inform him that he’s getting married to a girl whose parents are very religious and conservative, and that they’re coming to town to meet his ‘parents.’
Laurent’s natural mother is invited as well but leaves it to Albin to pretend he’s Laurent’s mother and it’s all one huge farce on the day and things get worse downstairs in the club as all hell breaks loose as Albin is not in residence. Dishes with naughty pictures and innuendos galore go into overdrive as the show goes way over the top with an ending identical to the other productions but in this production is all a bit too easily sewn up.
A lot happens in just over two hours and the cast easily keep up the comedy and energy. From the grand dame that is Albin to the almost not in control Georges they help to maintain a bit of the drama while the show spins its characters all over the place. And while you’ll admire their dedication and tenacity, you might find yourself laughing throughout but to a point where it’s not even funny.
When was Billie Trix – the fictional Diva of Divine Degradation – first unleashed in public? Why, 9/11/01 of course, the purrfect date of birth for a one-woman assault on all known taste! How could I possibly forget? Furiously pumped by the blistering, raw nasal ecstasy of prime, Cordon Bleu coke, I had no idea that evening’s Closer to Heaven press night – Billie’s media premiere – would soon expose me to the sizzling incandescence of the then-unknown and uncrowned Queen of Cunt Rock!
Was I up for it? Oh Christ, yes – I’d just spent an outrageously erotic, Rocky Horror night with my then-partner, and utterly fucked from drugs, sexual excess and a huge plate of restorative pasta, I crashed comatose for hours. Bad move – I woke to 71 missed voice messages screeching World War Three was game on, was happening, the World Trade Centre and Pentagon both savaged by kamikaze terrorists.
An ultimate wake-up call? For sure – nothing grabs your attention faster than indiscriminate, random slaughter in globally-famous landmarks! Still, press nights wait for no-one – neither queen nor transdiva – so Billie Trix’s first, ferocious draft scorched our spectacularly heightened senses with a contact high worthy of Dietrich screwing Madonna!
Sure, public decorum cancelled the scheduled after-party, but not the impromptu shag-a-thon spontaneously erupting at the Shadow Lounge, all blatant public sex and delirium; Frankly, there’s nothing like terrorist death-threats to kick-start libidos and make Viagra instantly redundant!
So, can lightning strike twice? Never doubt it! Even in Closer To Heaven, Billie’s role screamed out for total exposure – the more warts, pudenda and used condoms the better – and, with Musik, authored by Jonathan Harvey and sound-tracked by the Pet Shop Boys, Billie finally has a solo showcase capable of killing her talent-free rivals on sight!
Musik, authored by Jonathan Harvey and sound-tracked by the Pet Shop Boys, Billie finally has a solo showcase capable of killing her talent-free rivals on sight!
Billie’s back-story? Simple – she’s an every day, utterly amoral, drug-fucked hedonist, like all unrepentant media whores; hello Michael Jackson and my darling, Catholic Pope, allegedly shockingly high on snorted Saints’ ashes! But while lazy – and unimaginative – critics cite Marianne Faithfull as Billie’s role model par excellence, she’s arguably far closer in spirit to Wendy O.Williams, deranged frontwoman of hardcore punk band the Plasmatics. And Wendy’s finest, must-read media moment? Nothing less than attempting suicide trying to hammer a kitchen knife through her sternum!
Okay, maybe Billie’s not quite that extreme, but as played by the uber-Botticellian Frances Barber reprising her iconic role, Billie instantly electrifies every susceptible cock in sight! And an appropriate air of depravity is set by the Velvet Underground’s ‘Sister Ray’, fiercely chugging away pre-show in the auditorium. Pin-sharp perfect mood music, it’s a 17(!)-minute epic of smacked-up, tranny junkies projectile puking all over their appalled johns, as they come en masse in showers of rancid spunk!
Arguably, ‘Sister Ray’ is Billie’s signature song as much as Dietrich’s ‘Falling in Love Again’, and sets our expectations sky-high. We’re not disappointed; Heart-stoppingly offensive, Billie takes no prisoners, dead, alive or in between, like a glorious, fetish-culture Joan Rivers on Crystal Meth! And gay author Jonathan Harvey pulls no punches, ramping the Amy Winehouse Bible of Pure Excess to scarcely believable, Trailer Trash on Steroids tastelessness!
Structured as a flashback memoir of Billie’s fantastically view-worthy highs – and lows – the only downside of Musik, ironically, is the Pet Shop Boys’ dreary, pompous and hollow synth-pop, and the six, stunningly banal songs – absolute masterpieces of vacuity – that punctuate the show. Cringingly, Warhol’s feted by this lyrical messterpiece; ‘Soup…won’t let you droop’, after which my mind – and pen – refused to transcribe the subsequent drivel.
Still – thank my Holy, Bleeding Jesus – there’s still Barber’s ferociously meaty, dramatic attack to relish. Briefly, Billie name-checks the famous – and infamous – she’s shared genitalia, and, more interestingly, repartee with, from Jackson Pollack, Trump to Prince Harry, and it’s here the one-liners come thick, fast and awesomely offensive.
A word of warning; dump any snowflake bigotry – and faux-sensitivity – right NOW; Jonathan Harvey’s wit is brutally eloquent. So, are you firmly strapped in? Then we’ll take a ride on the All About Eve ghost-train…“Trump’s penis?’ Billie hisses, ‘it’s shaped like a walnut whip!”, and that Lou Reed compared her clitoris to a perfect, triple bass clef’.
On a roll now, she screams she’s “such a perfectionist – I produce at least ONE note a week!’. But occasionally, even Billie needs Autotune; ‘Your voice would sound this rough if you’d sucked as many lying cocks as I have!’. Still, she’s a model of sobriety – “I haven’t touched smack since my first rehearsal this morning!’ but even so, Billie simply can’t stand Madonna; ‘That plagiarising Bitch! She copies everything!’ Now. that insult takes ferocious balls, with Madge literally playing London’s Palladium just streets away!
More hot, feisty and fearless than tranny hookers shagging football thugs, Francis Barber’s Billie Trix is simply a revelation in Musik. Think Killing Eve’s Villanelle with added singing chops and utterly insouciant, jaded attitude, and you have diva Bille Trix, the absolute, Reigning Queen of killer, kitsch cabaret! So why waste time streaming porn or Game of Thrones? The real Dragon Queen – Billie Trix – is gloriously spreading her wings right now in Soho!
‘Time & Tide’ is a tale of love in the most unexpected places.
Nemo (Josh Barrow) works at a diner but has bigger ambitions in life. He wants to move to the big city of London, to be in theatre, and to get out of his nothing town of Cromer. This is much to the dismay of his boss at the diner May (Wendy Nottingham), who encourages him to stay in their small town. But Nemo’s friend Daz (Elliot Liburd) is secretly in love with him, but of course, Daz is not going to blatantly come out and say it, though he says he just recently broker up with his girlfriend. Meanwhile, May has an admirer in Ken (Paul Easton), the bread delivery man who also is hesitant to come out and say how he really feels. But May has some other sort of secret intentions, and it’s not for Ken. So what is her secret? And will Daz finally tell Nemo how he really feels? It’s unrequited love, love that may or may not be reciprocal, in Time & Tide.
Good performances, and the lovely diner set, in the cosy small room of the Park Theatre, make this production, its premiere, one to watch. Liburd is a natural on stage, but it’s Nottingham who is memorable as the woman who has run the diner for decades, and who is considering selling up and moving away. Nottingham is just fantastic.
Jamie is 16 and is not like his friends at school. His best friend wants to be a doctor, but he wants to be a drag queen. Raised by his mum in a single-parent family on one of Sheffield’s tougher estates, Jamie finds himself, and his alter ego, Mimi Me, with the help of fading drag queen, Hugo, and with the support of his ever doting mother and her best friend. But Jamie’s difficult relationship with his dad dents Jamie’s confidence; and the school aren’t particularly enthused about the big question on everyone’s lips – namely, whether Jamie will go to the school prom, or whether Mimi Me will.
The West End smash is venturing out on a national tour, and starting its 20 venue run at its spiritual home of Sheffield Theatres. For a touring production, the presentation of the show is spot on, with a simple but versatile set and a slick and polished look and feel, as it heads out with a broadly fresh cast.
Leyton Williams (Bad Education) reprises his West End role as Jamie, and whilst his vocals were not the strongest, his portrayal of Jamie was deliciously delightful. Amy Ellen Richardson absolutely nails her two show-stopping numbers as Margaret, Jamie’s mother; and George Sampson (Britain’s Got Talent) is impressive as Dean, the school bully. But it was Shane Richie who proved to be the biggest surprise of the night, balancing a measured performance as Hugo with a flamboyant turn as Loco Chanelle, his drag alter ego.
The strength of the show lies not just in the performances, but in the excellent writing and the superb score. Beautifully blending comedy and emotion, the story is one which easily balances the comedy with genuine feeling. ‘He’s My Boy‘ is nothing short of a torch song, and the more tender moments between Jamie and his Mother nestle beautifully in the feel-good warmth of the sharp script. But there is also tremendous pop bubble-gum fun to be had with many of the musical numbers, and the choreography, characterisations and ensemble cast bring both the stage and the characters to life.
The show doesn’t re-tread the usual ground with someone struggling with their sexuality, nor about seeking acceptance from their peers. Jamie is out, proud and everyone in his life loves him, which provides a refreshing change to coming of age stories such as these. The struggle is with Jamie’s self-image and his self-belief; and of the impact of his absent and rejecting father; and is very much a story about what makes a family rather than focusing on the acceptance or otherwise of Jamie’s sexuality.
The new touring production for 2020 brings with it a vivacious burst of energy and the show remains as utterly joyful and triumphant as ever. I laughed, I cried and I cheered on multiple occasions over the show’s duration, and if you’ve not been able to catch the show in the West End, then the national tour is bringing Jamie to a theatre near you. Move aside, Blood Brothers, there’s a new standing ovation musical in town.
Sex Education is about Otis Milburn, a socially awkward high school student who lives with his sex therapist mother, Jean.
In season 1 Otis and his friend Maeve Wiley set-up a sex clinic at school to capitalise on his intuitive talent for sex advice.
In season 2, as a late bloomer, Otis must master his newly discovered sexual urges in order to progress with his girlfriend Ola whilst also dealing with his now strained relationship with Maeve.
Meanwhile, Moordale Secondary is in the throes of a Chlamydia outbreak, highlighting the need for better sex education at the school and new kids come to town who will challenge the status quo.
Maeve and Aimee’s BFF relationship is stronger than ever since Aimee ditched ‘the Untouchables’.
Eric notices his new-found self-confidence attracting unfamiliar kinds of attention.
Adam is at military school, still conflicted by his feelings for Eric.
Lily has hit pause on her sexual endeavours to focus on her creative talents and finds a newfound friend in Ola.
Jackson is forced to flex his mental rather than physical muscle and is still buckling under the pressure from his parents to succeed.
Jean and Jakob’s relationship is discovered and they have to learn how to operate as a blended family. Jean forms an unlikely connection with Mrs Groff and a friendship between the two women begins to form.
When does the new season of Sex Education start on Netflix?
The good news is that it has already started!
Sex Education will return to Netflix with 8 brand new episodes in 2020.
The series is written and created by Laurie Nunn and produced by Eleven. Season 2 is directed by Ben Taylor, Alice Seabright and Sophie Goodhart. Jamie Campbell, Laurie Nunn and Ben Taylor are also Executive Producers on the series.
Who stars in Sex Education on Netflix?
The series stars Asa Butterfield (Ender’s Game, Hugo), Gillian Anderson (The Crown, The Fall), Emma Mackey (The Winter Lake, Eiffel, Death on the Nile), Ncuti Gatwa (Stonemouth, The Last Letter From My Lover), Connor Swindells (The Vanishing, VS), Aimee Lou Wood (Louis Wain), Kedar Williams-Stirling (Will, Roots, Wolfblood), Chaneil Kular (Informer), Simone Ashley (Broadchurch), Mimi Keene (Tolkien, Close), Tanya Reynolds (Emma, Delicious), Mikael Persbrandt (Invisible Heroes, The Girl in the Spider’s Web, The Hobbit, King Arthur), Patricia Allison (Les Miserables, Moving On), Jim Howick (Broadchurch), Rakhee Thakrar (Four Weddings and a Funeral), Samantha Spiro (Game of Thrones, Tracey Ullman’s Show, Babs, Doctor Who), James Purefoy (Rome, Altered Carbon) and Alistair Petrie (Deep State, Rogue One, Night Manager).
