After being jilted at the altar, lovelorn Ollie embarks on the planned honeymoon with his friends, arriving at Hotel Club Tropicana. However, unbeknown to him, his bride-to-be also had the same idea and arrives with her bridal party. Meanwhile, overly camp entertainments manager, Gary, (X-Factor’s Joe McElderry) and hotel managers Robert and Serena have entered the hotel into a competition, and are in the midst of trying to butter up the hotel inspector, Christine, by any means necessary.
Like many jukebox musicals, the wafer-thin story is used solely to wrap around the string of the Eighties hits, which are perhaps the show’s strengths, comprising primarily of upbeat classic pop which you can’t help but clap along to; whilst a bit of forced audience participation and a manic energy throughout the show resonated with the audience and created a party atmosphere in the theatre.
The show sits somewhere between dated sit-com and pantomime, but with an added abundance of crass innuendo, stereotyped characters which belong firmly in the Eighties and plenty of jokes about bodily functions. Written with every cliché in the book, from the characters to the story and from the jokes to the borderline offensive stereotypes, there is nothing here by way of originality.
But the show is silly enough to just about get away with it, and there are a handful of genuinely funny moments and some decent one-liners. Kate Robbins steals the laughs as Spanish maid, Consuela (yes, it really is that clichéd), McElderry camps it up whilst the ensemble cast dance their neon Day-Glo socks off. With plenty of nods to the decade that fashion forgot, and songs which you know all the words to, Club Tropicana is crowd-pleasing nonsense, provided you take it on face value and enjoy it for what it is.
Club Tropicana is at Sheffield Theatres until 9th March 2019 before continuing its national tour.
If you are a huge theatre fan, love musicals, and worship the ground Stephen Sondheim walks on, then you’ll love Follies.
Playing in its second run in two years at the National Theatre, Follies is true and pure Sondheim. At the ripe age of 88, Sondheim currently has another hit show in the West End – the critically acclaimed and very popular Company. But Follies is a certain kind of musical – a musical that will perhaps only appeal to the die-hard Sondheim musical theatre fan.
Follies lusciously and lavishly tells the story of former Follies girls, in 1971, coming back to their soon to be demolished theatre for a reunion. It is a brilliant idea for a show and is executed to flawless perfection. The women range in different ages and are at various stages in their live, but they will always be Follies girl, past performers of the “Weismann’s Follies” musical revue, that played in that theatre between the World Wars. While the next day the building is going to be demolished to make way for a parking lot, the women have one last night to reminisce about their time as Follies Girls and their younger and more glamorous selves.
The book of the musical, by James Goldman, takes a look at these women through rose-tinted glasses in a story that is all illusion, smoke and mirrors.
And while there is no proper character development, some of the women do get to shine in a cast that appears to be dozens (40 actually). Tracie Bennett smashes the Sondheim classic ‘I’m Still Here’ while Dawn Hope passionately sings ‘Who’s That Woman.’ Janie Dee excels in ‘Could I Leave You’ and Joanna Riding drips with emotion while singing ‘Losing My Mind.’
Yes, Follies is a show that showcases the ladies. And while some of the men (Peter Forbes and his younger self Harry Hepple), and Alexander Hanson, get their moments, Sondheim shows his enthusiasm, appreciation and love for the ladies. For it’s their show, it has and always will be.
Winner of Best Musical Revival at last year’s Olivier Awards, Follies is playing until Saturday, May 11, 2019.
RuPaul’s Drag Race: As Sparkling As It’s Always Been
There are spoilers…
With the new series of Drag Race coming hot on the heels of the last season of All Stars many people predicted that it would show signs of fatigue.
It didn’t.
It is clear to see why: though the format may be the same no season is truly the same because of the Queens.
Every season has such a huge array of different voices, looks and personalities it’s never the same and always surprising. Already I am hooked on the story-line of Silky Nutmeg Ganache: can she keep up her amplified personality or will it be her downfall. If she does, how long will it take till the other girls snap?!
Another hook is the return of “Miss Vanjie”, she’s already had me laughing out loud at times. She’s also grown a lot in style over the year. A great move to bring her back.
But what mattered most is wondering: will Ra’Jah’s earrings stay on?! (They didn’t …)
Meanwhile all the other Rugirls all seem to have interesting personalities and stories as well, with a lot of them coming from the House of Davenport – they seem specialized in turning out fabulous!! The House of Edwards are hot on their heels, though, with new additions Plastique Tiara bringing her best game to the show.
The house of Montrese sadly didn’t do so well in this first episode.
After appearing a bit lackluster at times during All Stars 4 it was good to see RuPaul appearing more like her usual self this time round. There was the twinkle, the naughty smiles and all the high energy quick fire jokes we’ve come to love. Her catwalk was as fabulous as always.
The first challenge is, as is traditional: a photo-shoot challenge – this one with a twist. The new girls have to direct themselves in a photo-shoot with some legendary Drag Race alumina, including some big fan favorites and even winners. It is great to see the more seasoned Queens being so helpful and kind to the younger ones. Adore Delano simply living her best life and having some genuine fun being an absolute highlight.
It is really amazing to see how the makers try to keep the first sewing runway challenge fresh; outfits inspired by past queens is a marvelous new twist.
Then there was Miley Cyrus entering as a drag king and proving herself to be an absolute delight.
She was unafraid to be fun with the Queens and gave them some advice that actually made sense and worked. She was also kind as a judge on the runway. A lot of guests try to outdo the regular judges, and often end up upsetting the contestants. Miley actually knowing and loving the Drag scene made her critiques all the better for it. (I do think poor Nina West not immediately ending up in the sing off after nine-years of auditioning is mostly due to her.)
Then the runway itself: well, it seems a lot of those queens have learned by now that knowing how to sew is essential, there were no absolutely excruciating outfits or things falling off this time.
Still, the moment Brooke Lynn Hytes appeared on the catwalk in her Detox inspired look it was clear she was a winner. Her outfit looked glamorous as well as professional as well as unique. She hit a deserved home run with all the judges.
Oh, but poor Soju!! Yes, her outfit was the weakest and she clearly failed the sing off but my heart breaks for her. Seeing her Untucked goodbye it was clear she put herself under far too much pressure; She felt she had to both represent Korea as well as pave the way for other Korean LGBTQ youth. She felt she had failed all of them. She was also suffering from tendinitis and had burst a cyst on a very unfortunate place on her way to the show. This poor Queen deserves a rematch next year.
Bless Vanjie for leaving her such a lovely note.
With all queens seemingly talented in the entertainment department next weeks acting challenge looks to be great!!
Can’t wait!! See you all soon.
Or in Soju’s words:
The controversial documentary film, Leaving Neverland is coming to the UK and you’ll be able to watch for free.
Leaving Neverland is going to be broadcast in the UK on the 6th and 7th March 2019 on Channel 4. The film, which will be split into two episodes, documents alleged abuse against two boys James Safechuck and Wade Robson.
The four-hour film, which will be shown in two, two hour programmes, has already proved controversial with fans of the late Michael Jackson and his family. It is due to broadcast on Channel 4 in the near future. The decision to broadcast the series has proved problematic for the channel after being deluged with messages of disapproval from users on Twitter.
In the film, both Wade Robson and James Safechuck allege that Michael Jackson began a long-running relationship with them. The Jackson Estate released a statement denoucing the film as”yet another lurid production in an outrageous and pathetic attempt to exploit and cash in on Michael Jackson.”
Speaking ahead of the documentary, filmmaker Dan Reed said in a statement, “If there’s anything we’ve learned during this time in our history, it’s that sexual abuse is complicated, and survivors’ voices need to be listened to.
The film was produced by Dan Reed and edited by Jules Cornell.
Dolly, no last name needed, brings to the West End the musical of her huge song and hit film 9 to 5, and it’s a hoot!
How could we forget the film, which starred Parton, Lily Tomlin, and Jane Fonda as secretaries at Consolidated Companies who turn the tables on their misogynistic boss? The song has endured more so than the 1980 film, so it’s perfect that it’s been turned into a musical.
9 to 5 the Musical had a brief Broadway run in 2009 and finally it’s here in London at The Savoy Theatre. Natalie McQueen is just about perfect and a dead ringer for Parton in the role of Doralee Rhodes, secretary to the flirting and very handsy boss Franklin Hart Jr. (a very good and game Brian Conley). Amber Davies is in the Jane Fonda role as Violet Newstead, who is newly divorced and finds herself starting a new job at Consolidated, while Caroline Sheen is Lily Tomlin in the role of Judy Bernly, who has worked at the firm for years yet keeps on missing out on promotions that go to men. One day Judy accidentally puts rat poison in Mr Hart’s coffee (or at least she thinks she did), but when Hart finds out he threatens to call the police so the ladies kidnap him and attempt to find dirt on him, which of course they do. But from start to finish, accompanied by fun songs and a dazzling set, and great performances from the cast (which also includes Bonnie Langford as busybody Roz Keith), 9 to 5 the Musical will drive you happy if you let it!!!
Of course, there are some cringe-worthy moments, especially when Mr Hart grabs his balls and plays with his nipples during one song (‘Here for You’), while society has moved on about this sort of treatment of women in the workplace with the #metoo movement in full force. But overlook these as we all have a good time watching the show. And it’s Dolly who is our narrator in the beginning, middle and ending (a video, not her in real life, unfortunately) who sets up the story and then winds it up. ‘9 to 5’ is no longer a rich man’s game, it’s all for us to enjoy!
9 TO 5 THE MUSICAL plays at the Savoy Theatre, Savoy Court, until 31 August 2019, Book tickets here.
Torsten In Queereteria is the third solo album by Andy Bell (Erasure) performing as alter-ego Torsten, a semi-immortal polysexual who is destined to love many, lose many and be haunted by bittersweet memories, due to his unnaturally elongated life.
The album is released on 12th April through Cherry Red Records. It’s a role Andy first took up at the Edinburgh Fringe Theatre Festival in 2014 in ‘Torsten The Bareback Saint’ and a role reprised by him in the critically acclaimed 2016 follow up, ‘Torsten The Beautiful Libertine’, which enjoyed a sell-out 4 week run at London’s ‘Above The Stag’ Theatre.
Here’s a YouTube link to first track to be taken from the album – We Hadn’t Slept for 20 Years:<
‘Andy Bell Is Torsten‘ is a unique collaboration between a singer (Andy Bell), a poet / playwright (Barney Ashton) and a musician (Christopher Frost). Their new album is structured around 4 separate themed ‘Acts’ which deal with different aspects of both Torsten’s life story and his self-realisation. As with previous Torsten albums, each song is designed as if a postcard insight into a particular hot-spot of memory.
Track listing is:
Act 1 : Remembrance, Youth and Beauty.
01 – A Hundred Years Plus Today
02 – You Stampede An Open Wound
03 – Lowland Lowriders
04 – I Am Of The Sea
Act 2 : The Hedonism And The Hurting.
05 – Cabaret Awayday
06 – Queereteria
07 – If We Want To Drink A Little
Act 3 : Bitter Regrets.
08 – Thou Shalt Be My Vibe
09 – Money With Menaces
10 – Let’s Be Sober Another Time
11 – Come And Taste My Breakdown
Act 4 : To Mourn And To Miss.
12 – To Know Good Men From Perverts
13 – We Hadn’t Slept For Twenty Years
14 – Silence Is Golden
15 – Not Opting Out
Album opener A Hundred Years Plus Today is Torsten in reflective mood as to the longevity of his life, it precedes three recollections in song of intense moments from times spent with his earliest friends and lovers, and the hope embodied in coming from a coastal town, that the sea might deliver temptations in the guise of sailor lovers.
Act Two narrates a headlong bounding into hedonism; interacting with strange seaside town cottage cruisers in Cabaret Awayday, to the respite and debauchery afforded by trips to the Queereteria club and a stout defence of partying and drunkenness in If We Want To Drink A Little, a duet with one of Andy’s personal heroes, Hazel O’Connor of ‘Breaking Glass’ fame.
Act Three is the realisation that one has, perhaps, hit rock bottom and become a tad unpleasant and bitter. Thou Shalt Be My Vibe portrays a manipulative, drugged-up, drunk Torsten driving a potentially exploitative relationship. Money With Menaces is an ode to the bitterness of both parties in a rent-boy / older punter relationship. Let’s Be Sober Another Time sees Torsten in denial of his chronic alcoholism which leads, in turn, to a mindless and provocative challenge to all his remaining friends and cohorts to Come And Taste My Breakdown at the end of Act Three.
Levity is restored in Act Four in which an older Torsten is in more reflective mood about leaving his partying years behind. To Know Good Men From Perverts is the culmination of the experience that life affords in learning one of its ultimate lessons, the discernment between those who we can trust and those who seek to harm us. We Hadn’t Slept For Twenty Years, the lead single from the album, is a loving reminiscence of close friends and the mayhem and mirth of their formative years partying with a vengeance! Silence Is Golden pays tribute to an aged lover who has recently died; someone who sublimated the existential angst and fear of knowing he was nearing death by a mania to read widely and an insistence on Silence to enable him to do so. Not Opting Out, the album’s defiant closing number, is Torsten’s reckoning that though his own life may be nearer its end, that he remains stalwartly an active participant in it, even though the ever accelerating pace of global change is exhausting.
After a murder in London, and with the snow falling heavily outside, Monkswell Manor, a guest house, opens its doors to welcome its first five seemingly unconnected, guests, some of whom are expected, some of whom aren’t. But the night is interrupted by a phone call and the arrival of the police warning that there is a killer on the loose and that there more murders expected in the isolated house. But who is the murderer, who are the victims and who will survive?
The Mousetrap is the longest running show in the West End and when I first saw it in 2013, having not read or seen any Agatha Christie and with a curiosity to see what made this theatrical legend so special, I found it suitably engaging, and seeing it again on this new tour was just as enjoyable.
As one would expect with Agatha Christie, the story is one of a mixed bunch of characters; including the grumpy old woman, the retired army general and the delightfully camp young bachelor; and the intelligent writing had you casting doubt on each of the characters in turn, as their secrets slowly surface. But the fun comes in the last twenty minutes or so, as the killer’s identity is revealed and you can see whether you were right in your deductions.
On this tour, there are high spec production values, with a sturdy and detailed set and an ambient sound and lighting design; and there are good central performances from Geoff Arnold as Sergeant Trotter, Gwyneth Strong as Mrs Boyle; and in particular, Lewis Chandler standing out from the crowd as Christopher Wren.
Despite the show being somewhat of its time and harbouring a terribly twee closing scene, The Mousetrap retains its ability to engage the audience without flashy visuals or an over the top production, and simply allows some good performances and classic story writing to shine through in a night of old fashioned entertainment.
The Mousetrap is on national tour and details can be found at the show’s website.
Before September 11, 2001, no one had ever heard of the tiny town of Gander, Newfoundland. But on that horrible, horrible day, the townspeople (no more than 10,000 people) welcomed in and took in thousands of people who were on Westbound planes that were diverted to this place in the middle of nowhere.
This story is told in the musical Come from Away. Winning many awards in its Washington D.C. and Broadway runs, this popular show has arrived into London with much anticipation. And the show surely lives up to it.
Gander has a small airport, where the nearest Starbucks in four hours away, and where there are a total of 550 hotel rooms. But on 9/11, 6,579 people were grounded in Gander. And it was the townspeople who opened up their homes, and hospitality, to these passengers who at the time at arrival had no idea as to what was happening (this was before everyone had mobile phones).
The characters in this show are based on (and is most cases share names of) real Gander residents and the passengers on these planes. The actors play both the passengers and citizens, switching roles every now and then. While it does get a bit confusing in the beginning, as the show rolls on and the music starts to kick in, Come from Away gets more uplifting, until it, and the residents of Gander, have really won us over.
Beautiful songs such as ‘I Am Here’, beautifully sung by Cat Simmons, whose son was a firefighter in NYC, ‘Stop the World,’ sung by Robert Hands and Helen Hobson who were passengers and ended up falling in love, and ’Something’s Missing,’ sung by the entire company after the 9/11 passengers all left Gander – show us how the human spirit was alive and well the week the world changed. With incredible book, music and lyrics by Irene Sankoff and David Hein, and sharp direction by Christopher Ashley, Come From Away may not only bring you to tears, but it will also lift up your spirits.
It had been announced that there will be a feature film adaptation of Come from Away, with Sankoff and Hein writing the script and Christopher Ashley as director. I’m really looking forward to seeing the movie version of this moving and cathartic musical.
Come From Away plays at the Phoenix Theatre until 19th September 2019. Book tickets here.
Nearly 45 years on from its debut, Richard O’Brien’s cult musical needs very little introduction. The show follows Brad and Janet, two 50’s Americana sweethearts who stumble upon the castle of Frank-N-Furter; a cross dressing scientist cum force of nature, on the evening that he is to bring his Frankenstein-esque playmate to life.
As a musical it remains larger than life; and like Frank’s creation himself, the show has taken on a life of its own. With its affectionate nod to the B-Movie science fiction genre of the 50’s, it’s cult following is unparalleled and its fans amongst the most fiercely loyal you will find.
The role of Frank-N-Furter is so iconic, that you need a larger than life personality to fill the fishnets, and Stephen Webb does a great job blending Frank’s camptastic alluring persona whilst maintaining an underlying gruffness to his vocal performance, along with Philip Franks as the narrator, brilliantly trading quips with the audience. But to be fair, you would be hard pressed to find a weak link within the cast in this top-notch production.
Rocky Horror is presented here in all its gloriously loud, brash, colourful, neon day-glo garishness, with a set which looks luxurious and holds an almost cartoon-like feel to it; all accompanied by an excellent lighting design by Nick Richings which flooded the stage in reds, greens and purples, and some steady direction by Christopher Luscombe.
Rocky Horror is a phenomenon, and the atmosphere at any Rocky Horror performance is one which has to be experienced. This production provides a fresh feel to a classic show and one which engages the audience like no other. So pull on your fishnet stockings, warm up your vocal cords, leave your inhibitions in the foyer and go and “give yourself over to absolute pleasure”.
Rocky Horror is at the Sheffield Lyceum until Saturday 23rd February 2019, before continuing on its national tour. For details visit the show’s official website.
There is a price to pay for everything in life, and in the new play The Price, this is true.
Now playing at Wyndham’s Theatre in the West End, one of Arthur Miller’s least known plays is a study of two brothers who have not spoken to each other in 16 years yet each has their demons, each have paid a price for decisions they had made in life. Brothers Victor (Brendan Coyle) and Walter Franz (Andrian Lukis) have not seen each other for 16 years since their father passed away. During this time, Victor has kept dozens of his parents pieces of furniture in his attic, and he’s decided to get rid of them. So he asks 89-year old appraiser Gregory Solomon (a wonderful and definite Olivier Award in this role for David Suchet) into the home he shares with his wife Ester (Sara Stewart). Solomon is a Miller character, and Suchet injects his character with such panache, humour and vulnerability that it’s a master class of acting.
Meanwhile, Walter suddenly shows up, having not returned any, any of Victors’ phone calls over the years. And, yes, there has been a price in not returning those phone calls, and we learn that Victor paid an even bigger price by remaining at home to care for his father when he was getting sicker and sicker. And all Ester wants is to have enough money to be comfortable, and as the going gets rough between the two brothers, Solomon offers a price for the furniture. Is the price a good one? Is there a price for being a responsible son, versus one who flies the coop and becomes successful? All of this drama takes place with the backdrop of the great depression in their past.
The Price, which was written in 1968, is about estranged brothers facing up to the lasting effect of the Depression on their family three decades on. It’s also about not reaching your dreams, and family conflict. The set, where dozens of pieces of furniture are literally hanging on the side of a wall (by Simon Higlett), is genius. Also genius is the acting. Suchet is superb, and Coyle is at ease as the brother who may or may not have been manipulated by his sick father. Under the direction of Jonathan Church, The Price is worth the price of a ticket.
The Price is playing at the Wyndham Theatre until Saturday, April 27th. Book tickets here
Some of the most memorable trans characters have been played by cis-gender actors… here are 25 of the most famous roles.
Here are just some of the mainstream films and television shows where a trans character wasn’t played by a trans actor. The argument against non-trans actors taking these parts have made headlines once again after a clip of Matt Bomer in his forthcoming film, Anything was released.
Warning this article may contain spoilers to various films.
Glen or Glenda was released in 1953 starring Ed Wood – who was actually credited as Daniel Davis in this film. It’s a semi-autobiographical film, considered one of the worst films of all time. However, it is considered a plea for tolerance.
Dog Day Afternoon is based on a real-life story, where a bank robber (Al Pacino) holds up a bank in New York’s Manhattan to pay for his girlfriend’s (Chris Sarandon) gender confirmation surgery. Chris Sarandon’s portrayal of a trans woman was applauded for its consideration of dysphoria.
Probably one of the most famous films to feature a “sweet transsexual”. TRHPS has gone on to become a cult hit and recently had a remake filmed and it starred Laverne Cox in Tim Curry’s part of Dr Frank N. Furter.
In 1980 Michael Caine played a murderous trans woman in this erotic thriller. For his part in the film, Mr Caine was nominated for a Golden Raspberry Award for Worst Actor.
A drama which explores themes of race, gender, nationality and sexuality with the troubles of early 80s Northern Ireland as a backdrop. The trans character in this film is actually one of its great surprises, which is considered a “shocking twist”. Jaye Davidson was nominated for a Best Supporting Actor for the role.
The World According to Garp based on the book of the same name by John Irving which is the story of T.S. Garp. In the book his mother, who runs a home for abused women gives shelter to a former footballer, now a transgender woman, Roberta Muldoon.
Ted Levin played a trans serial killer who skins his female victims. In the story, Ted’s character, Jame Gumb, applied for a sex-reassignment operation but was unsuccessful in gaining in their cause.
Terrence Stamp in Priscilla Queen of the Desert, 1994
One of the most successful LGBT films of all times was released in 1994 is in the top 40 grossing gay and lesbian films of all times. Terrence Stamp’s Bernadette Bassinger is a carefully studied character, played respectfully.
Mary Sean Young, Ace Ventura: Pet Detective, 1994
Possibly one of the most offensive portrayals of a trans person in film – which uses the trans character as a comedy mimic.
Coronation Street made history in 1998 when they introduced the first trans character to a British soap. It wasn’t until 2015 that EastEnders made further history by having a trans actor play a trans character. Julie Hesmondhalgh has been praised for her portrayal of a trans person and she is a huge advocate for the LGBT community. In 2017 she called on TV companies to employ trans people in trans roles.
One of the most tear-jerking LGBT films of all time. Hillary Swank was truly remarkable in the film which was based on the true story of murdered trans man Brandon Teena. The film was nominated for 57 awards and won 37 of them including, Best Actress (Oscars and BAFTAs) for Swank.
The 00s to 10s
John Cameron Mitchell in Hedwig and the Angry Inch, 2001
One of the only musical films featuring a trans character in the central role. John Cameron Mitchell wrote and directed this film. It features in the top 100 LGBT films.
Felicity Huffman was widely praised for her role in TransAmercia as a pre-operative male to female transgender person. This was an unusual casting decision as usually male to female trans parts are played by males rather than females.
When Daniela joined The L word in 2006 she had the role of Moira Sweeney, an androgynous computer technician who moves from the Midwest with Jenny (Mia Kirshner). Over the course of the season, Moira comes out as a trans man, adopting the name Max Sweeney.
Rebecca Romijn was another female who was cast in an M2F role in the comedy TV series, Ugly Betty. She appeared midway through the first season and left in season 3.
The 10s to 20s
Seth MacFarlane, Family Guy, 2010
Derided by Glaad for the way in which Family Guy deals with transgender issues, Seth MacFarlane voices the character of Quagmire’s parent, Ida who goes through sex-reassignment surgery in the episode, “Quagmire’s Father”.
Jared was awarded an Oscar for his role in Dallas Buyers Club, however, his casting in this film and subsequent acceptance of the Oscar with a full beard was criticised by some in the trans community. Laverne Cox recently said, “as brilliant as Jared Leto is, and all these actors who play trans women, when people who don’t know anything about trans folks and trans women see the very sexy Jared Leto and his beard accepting an Oscar for playing a trans woman, the message that it sends is that trans women are really men”
Amazon was praised for the production of Transparent starring Jeff Tambor who plays a trans person coming out as trans later in life. The show has won awards and much love from the critics for its sensitive portrayal of a family dealing with and accepting transition.
Eddie Redmayne played the part of Lili Elbe, acknowledged as the first trans woman to go through sex reassignment surgery. Despite it being widely praised there was only one Oscar win out of four nominations. The film was banned in a number of countries including Qatar, the UAE, Oman, Kuwait and Malaysia.
Stonewall was much derided when it was released in 2015. It also stars two actors in trans roles who are not trans. Otoja Abit who played Marsha P Johnson and Jonny Beachamp who played the fictional character, Ray/Ramona.
