Category: Entertainment
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NICK GRIMSHAW Leads The Way For X FACTOR Auditions
It all starts here as Cheryl, Rita, Simon and Nick Grimshaw open the auditions in Manchester.
Nick Grimshaw, the openly gay Radio 1 presenter looked refreshed and happy at the launch event for X FACTOR 2016.
Greeted by a throng of fans, the 50% new judging panel, which includes Rita Ora, Cheryl, Nick and Simon beamed as they took selfies and signed autographs.
Louis Walsh was dumped / or left, depending on which paper you read, earlier in the year, as the long-standing judge was swapped out for Nick Grimshaw.
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LGBT Community Has New Pub In Bangor, North Wales
A year after Bangor’s only gay venue, The Three Crowns burnt down the new management of The White Lion hope to give the LGBT community a safe space in North Wales. (more…)
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FILM REVIEW | The Loft
The storyline is fairly straightforward, five seemingly respectable professional men conspire to share a secret apartment. A safe space in which to conduct their illicit affairs and indulge in their deepest, darkest fantasies, safe from the prying eyes of their wives.
That is until one of them, Luke, arrives to find a dead body, an unknown woman, a blonde, hand-cuffed to the bed they have all used at some point.
Then their fantasy turns into a nightmare, as they realise there are only 5 keys to the apartment and it isn’t possible to duplicate the keys… so one of the 5 must be the murderer?
Or so you think…
The film is quite inventive in terms of use of flashbacks, the way the five are questioned by the detectives investigating the crime, the possibility of the wives being involved? The list of potential suspects grows, as the victim is revealed. It has a feel of classic Hitchcock about it as we appear to suspect everyone, no-one is safe.
With a stellar cast, including James Marsden (Hairspray, amongst many others), Keith Urban (Bones in the Star Trek reboot), Wentworth Miller (Prison Break) and Matthias Schoenaerts (from the original version of Loft, and also Rust & Bone, A Little Chaos and Far from the Madding Crowd) who all give performances that waver between making you feel revulsion for them and their predicament and pity for the game they are all involved in.
Erik Van Looy remakes his 2008 Belgian classic and succeeds with playing with you – you think you know where it’s going, but you’re wrong!
One for a DVD and pizza night…
A massive 4 stars
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FILM REVIEW | Magic Mike XXL
The Kings of Tampa are back! The men, strippers from the 2012 film Magic Mike, return with a sequel – Magic Mike XXL – and they are back with a bang!
Magic Mike XXL reunites Channing Tatum, Joe Manganiello, Matt Bomer and the rest of the cast from the hit film about male strippers and picks up the story three years later after Mike has left the world of stripping. He’s got his own furniture business but it’s not doing too well. So when the former Kings of Tampa look him up on the way to a stripper convention in Myrtle Beach, North Carolina, Mike (Tatum) can’t resist the pull to go back to stripping, and to reunite with his buddies. So what takes place is a male stripper road movie with scenes that allow all of the men to display their fine physical goods.
And these scenes are hot. In one, reminiscent of Jennifer Beal’s dance scene in the film Flashdance, with sparks flying all around, Mike does the same in his garage, a freestyle solo that proves he’s still got it. Once on the road, we are treated to the men’s misadventures, to be voyeurs in their exhibitionism, with a front row seat. First stop, a gay bar in Jacksonville where the drag queen emcee asks members of the audience if they want to participate in an amateur strip contest. Of course our men enter and wow the crowd. After, they find themselves at a beach party, where Mike has an encounter with Zoe (Amber Heard), who takes his picture while he is urinating.
Big Dick (Manganiello) get his big showy number when he performs, on the spot, for a shocked but very lucky female gas station attendant. You’ll never look at a bag of Cheetos the same way again.
A stop at private club Domina, Mike’s pre-Tampa stomping ground, transforms the movie into a breathtaking and intensely sexual film. You see, Domina’s female customers are treated to in-your-face male strip shows, and these strip shows are like ones you’ve never ever seen before on film. It’s here that Mike re-encounters Rome (Jada Pinkett Smith) the proprietress, and a woman from his past.It you’re out of breath at this point (trust me, you will be) there’s lots more. The men wind up at the home of Nancy (Andie MacDowell), a recently divorced sexy and flirtatious woman in her early 50s, and the rapport between Nancy and her female friends and the men is very palpable, very real, you can cut the sexual tension between the men and the women with a knife.It’s at the Myrtle Beach stripper convention where the film comes to a climax. Each man gets to perform his own unique dance, for a room full of ladies, and perform they do. Tatum strips all the way down to a shiny jockstrap, while the other men do their own special routines, one which includes chocolate sauce and whipped cream, and another one involves a sling. Various ladies from the audience are lucky enough to be chosen as part of the act. And Tatum chooses Zoe to be in his act, performing on her on stage in every position imaginable.Directed by the same man who directed the campy Liberace film “Behind the Candelabra,” Gregory Jacobs brings a stylised nuance to Magic Mike XXL, where the long dance scenes take a life of their own. And the male stars of this film really put themselves out there, hell, they’ve all got the bodies, so why not? And for the female actresses who were chosen to be performed on in various scenes of this film, we can assume they were not just acting, but were also extremely enjoying themselves. So will you. -
THEATRE REVIEW: wonder.land, Manchester International Festival
★★★★ | wonder.land, Manchester International Festival
Now in its tenth year, the Manchester International Festival is a biannual showcase for newly commissioned work by leading artists from all around the world.
One of 2015’s biggest shows is wonder.land, a new musical featuring music by Damon Albarn of Blur and Gorillaz fame.
wonder.land, a new take on the classic story of Alice In Wonderland, tells the story of Aly. Aly is a lonely teenage girl, recently moved to a new area after the bitter split of her parents. Bullied at school and feeling neglected by her mother due to her baby brother, one day she stumbles across wonder.land, a website promising escape into a virtual world. Creating an avatar called Alice, in this world, Ali makes new friends and some refuge from her loneliness until the day her headmistress, Ms. Manxome confiscates her mobile phone and she is denied access to the game. Before long, Aly finds herself fighting for her existence in the game after her identity is stolen and her virtual friends turn against her.
The story of Alice in Wonderland has long been one of the most loved and iconic of children’s books. This version, with themes of online gambling addiction, bullying and fractured families is a fiercely contemporary adaption. Elements of the Lewis Caroll tale remain but with a modern twist. For example, the Mad Hatter becomes Matt Hatton, Aly’s recovering gaming addict dad with a history of mental illness.
If this sounds all a bit worthy then luckily wonder.land has enough sly wit and playfulness to prevent it feel like a preachy night at the theatre. The innovative design, mixing 3 dimensional back projection with moveable sets creating the two different worlds of the show also added a huge amount of visual excitement.
wonder.land is not without flaws. The music, a combination of traditional musical theatre orchestration and electronica is pleasant if not especially memorable and the big climatic showdown between Ali and the villainous Ms Manxome feels rather rushed. This is not to deny however that this is a bold, exciting and original piece of work.
In a strong ensemble cast, it was Anna Francolini who was the performance of the evening as Ms Manxome, this version’s Red Queen. Ms Manxome is an old fashioned big barnstormer of a role that it’s very easy to see musical theatre actresses of a certain age fighting to play. Francolini attacks the part with swagger and enormous charisma.
Special mention must also go to Rosalie Craig in the lead role of Ali, who brings huge quantities of vulnerability to her performance matched by a strong singing voice. Her complicated relationships with her parents and budding friendship with Luke, himself a target for homophobic bullying, are affecting and powerfully portrayed.
For all it’s modern trappings, at its heart wonder.land is a story about family and the quest for self-esteem. Lewis Carroll purists may very well hate it but plenty other will relate to its warmth, wit and the timeless themes under the hi-tech surface.
wonderland
Palace Theatre, Manchester
2nd to 12th July 2015 -
London Gay and Drag Pub Up For Sale
After a spate of closures on London’s gay scene Molly Moggs is up for sale.
The popular Molly Moggs pub on the corner of Old Compton Street and Charing Cross Road is apparently up for sale according to GayStarNews.
The Alan Sugar owned pub’s leasehold is up for grabs for £275,000, however, the pub’s staff has not been told about the pub’s future.Molly Moggs is set in a listed building so only the leasehold is available to purchase and it is likely to remain a pub because of the licensing conditions, this is not a guarantee that it will remain a gay venue once new owners are found.
According to GSN, the listing for the pub suggests, “An initial discreet viewing on a customer basis is required. Staff are unaware and should not be approached.”
The London gay scene has seen a number of venues close. The Black Cap, The Joiners Arms, Barcode, The Green Carnation are just some of the businesses which have been shuttered in recent years.
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THEATRE REVIEW | Bend It Like Beckham
★★★★★ | Bend It Like Beckham
Does a musical version of the hit film “Bend it Like Beckham” work? You bet it does!
The plot from the film is successfully transformed into a fantastic singing and dancing musical with a clever set, memorable songs, superb costumes and an excellent cast.
Natalie Dew is amazing as Jess, a young woman coming of age in a Sikh household in the Asian community of Southall, London in 2002. She loves the game of football, enough so that she’s got two large posters of David Beckham in her bedroom.
One day Jess is spotted playing football by Jules (Lauren Samuels, playing the Keira Knightley role from the film) who plays for the Hounslow Harriers team. Jess goes along to one of the team’s practices where coach Joe (Jamie Campbell Bowen) takes in interest in her playing, as well as in her, and Jess decides to play for the team, without telling her parents. She knows that her parents, Mr. and Mrs. Bhamra (Tony Jayawardena and Natasha Jayetileke), will forbid her from playing the game that she absolutely loves.
Coach Joe feels that Jess is good enough to make the England team, and along with Jules, they urge her to stay in the game, even after her parents do find out. Meanwhile, Jess’s older sister Pinky (Preeya Kalidas) is about to get married to a man whose family thinks that Pinky is not suitable for their son. But all Mr. and Mrs. Bhamra want is the best for their daughters, they worked hard and have provided a good life for them and they want them to continue to live, and follow, their traditional Sikh life. But Jesse has a dream, and she wants to play for England, but will her parents stop her from fulfilling this dream?
To say Bend it Like Beckham is a feel good show is an understatement. From start to finish we are treated to a very vibrant and colourful spectacle, the likes which we haven’t seen in the West End in a long time. And the cast is perfect. Drew brings just the right amount of vulnerability and youthness to the role of Jess – it’s like the part was specifically written for her. Kalidas as Pinky brings the show punch, sass, and vavavoom. Jamel Andreas is very good as Jess’s best friend Tony who is perfect for Jess, perhaps too perfect. Other standouts include Sophie-Louise Dann as Jule’s blond mom, she’s sassy, funny and a blond bombshell. And Rekha Sawhney beautifully sings a traditional wedding song called, Sadaa Chardhdi Kalaa that will mesmerize you.
Gurinder Chadha, who wrote and directed the movie, which is set in the pre 9/11 era, also wrote (with Paul Mayeda Berges) and directed this stage version. She’s captured the spirit of Jess and her love of the game that most British people can relate to, and has given us a show that at no point gets boring or drags – it’s dialogue is very witty yet very dramatic. And the whole cast do wonders with it, and with the set that changes from a shopping street, to Mr. and Mrs. Bhamra’s living room, to an actual football field, all cleverly done. And the show wouldn’t have the name ‘Beckham’ in it if he didn’t make an appearance. The actual David Beckham is NOT in the show, but a lookalike is (along with a Victoria Beckham lookalike).
Let’s hope the real David Beckham goes to see it, he will absolutely love it.
Bend it Like Beckham is playing at The Phoenix Theatre.
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Boris Johnson Backs Campaign To Save The Royal Vauxhall Tavern
Boris Johnson has joined Sir Ian McKellen and Paul O’Grady in the campaign to secure one of London’s most iconic LGBT venues, The Royal Vauxhall Tavern.
Speaking about the RVT Future’s campaign, which is fighting to turn the RVT building into a listed building, Boris Johnson said,
“The Royal Vauxhall Tavern has been a lynchpin at the heart of London’s LGBT community for more than six decades. This week, New York gave the Stonewall Inn landmark status, recognising its place in that city’s history. The RVT’s unique contribution to the vibrancy of London life should also be celebrated. It is a beacon that is known around the world and must be made a listed building so it can continue to shine for years to come.”
Amy Lamé, chair of RVT Future – a group of performers, producers and punters concerned by the RVT’s purchase by property developers last year – said:
“We are absolutely delighted to have Boris’s support. It’s great to know he takes the LGBT community’s interests seriously and loves the Royal Vauxhall Tavern as much as we do. We hope Historic England and the Department for Culture, Media and Sport give the Mayor’s view due consideration as they consider the listing application. Ultimately, we’d like the RVT to be owned by the community that cherishes it, so we hope this will be an important step on that path.”
Yesterday, Sir Ian McKellen and Paul O’Grady – who developed his legendary character Lily Savage during a long-running residency at the RVT – gave their support to the campaign.
O’Grady developed his legendary character Lily Savage at the RVT during a long-running residency in the 80s. “I consider the venue to be my very own school of dramatic art,”
O’Grady writes. “The Vauxhall Tavern was our village hall” during a turbulent era marked by homophobia, police raids and the AIDS crisis.
More than 30 performers, producers, local residents, LGBTQ charities, architects, historians and politicians have written to Historic England (formerly English Heritage) to back the listing application made by RVT Future.
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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.
