THEGAYUK

Category: Entertainment

  • The Inheritance, The Young Vic

    The Inheritance, The Young Vic

    ★★★★★ | The Inheritance, The Young Vic

    It’s a bold move to schedule nearly 7 hours of theatre about the lives of gay men, by a writer who’s largely unknown in the UK and hope that people take a punt on it without fear of boredom or backache. It’s paid off here though, as the run is almost sold out. Maybe the draw is ‘The Crown’ (the director of the plays is Stephen Daldry) or the recent epidemic of boasting about having sat through a day of ‘Angels in America’ at The National. Whatever the reasons, they’ve scored a winner with this two-parter. It’s a magnificently acted and tightly scripted piece of theatre which is both thought-provoking and incredibly moving.

    The plays look at the lives of a group of sometimes self-satisfied/dissatisfied and hedonistic/troubled gay men in New York a generation after the AIDS crisis was at its height. Although there’s lots of issues raised it’s also a very entertaining and human piece of character-driven storytelling with moments of wry comedy.

    Based directly on E.M. Forster’s ‘Howard’s End’, but with gays, it’s like a fat and occasionally filthy novel and it’s definitely a page-turner. The action is played out on a sparse set by barefoot and occasionally bare bottomed actors and one actress (Vanessa Redgrave pops in for 20 minutes). The concept is that the men are part of a writing group looking at writing their experiences, mentored by the Edwardian author. Bizarrely, this works really well and acts as a perfect backdrop for the action. You can binge watch it like it’s on Netflix or take the DVT free option and see it over two nights. Whichever, it’s worth grabbing one of the few remaining tickets.

    Runs at The Young Vic until 19th of May 2018

  • THEATRE REVIEW | The York Realist – The Crucible Theatre, Sheffield

    THEATRE REVIEW | The York Realist – The Crucible Theatre, Sheffield

    The York Realist

    Set in the 1960’s, hard-working Yorkshire farmer, George, is volunteered for a part in the York Mystery Plays by his busy-body (and somewhat devoted) neighbour; where he meets and falls in love with John, the London based and rather cosmopolitan assistant director. But despite their feelings for each other, the difference in their two very different worlds soon becomes apparent.

    Director Robert Hastie shepherds the cast with skill, never shying away from the intensity and emotional impact of silence and pause in the midst of the drama; and eliciting quality performances from the cast with an unassuming ease. Jonathan Bailey (Broadchurch) and Ben Blatt (Spooks) excel in their respective performances as John and George, having a terrific on-stage chemistry and engaging in performances which were wholly absorbing, touching and brimming with genuine emotion.  Brian Fletcher’s monosyllabic character of Jack brought some of the lighter moments within the piece, whilst Lesley Nicol (Downtown Abbey) brings a warm and instantly recognisable charm to her portrayal as the down to earth matriarch of the family, which is as homely as the cottage kitchen that makes up the stage.

    Peter Gill’s script vacillates from fast-paced, northern-humour filled dialogue to long silent pauses of emotional drama with ease; and is reflective of the changes in society at the time, both in terms of the progress of modern life and the beginning of a change in attitudes. There is an underlying reticence of some of the characters to move on into the modern world, which mirrors the cautious approach of John and George to their relationship; and, in particular, whether George lives his life for himself or for others, despite his family’s unspoken acceptance of his sexuality. There is a real tension between the old-fashioned values and the familiar feel of a comfortable, established life and the progression into a time of social and economic change; which sits alongside a head-on clash of city and country life and a disparity between the social class of the protagonists.

    Running at Sheffield’s Crucible Theatre until 7th April 2018, The York Realist is a touching, tender and tear inducing piece of heartfelt and beautifully understated theatre; with solid central performances from two actors with a genuine on-stage chemistry, and enough Yorkshire humour to satisfy the home crowd.

    Visit www.sheffieldtheatres.co.uk for tickets and details.

  • This is why there isn’t any nudity in Call Me By Your Name

    It was in their contracts. Apparently.

    So why was there no nudity in Call Me By Your Name?

    There was surprisingly little sex or nudity in Call Me By Your Name – which for a gay film is unusual, but it turns out it was in the contracts of Armie Hammer and Timothée Chalamet, that there be no sex scenes or nudity or so the original book’s writer, James Ivory, claims and it apparently “rankles” him.

    Speaking to the Guardian, James Ivory said,

    “When Luca says he never thought of putting nudity in, that is totally untrue.

    “He sat in this very room where I am sitting now, talking about how he would do it, so when he says that it was a conscious aesthetic decision not to – well, that’s just bullshit.

    “When people are wandering around before or after making love, and they’re decorously covered with sheets, it’s always seemed phoney to me. I never liked doing that. And I don’t do it”

    So there you have it… Legal Smegal…

    Call Me By Your Name is now available on Amazon and iTunes

  • FILM REVIEW | Love, Simon

    ★★★★★ | Love, Simon

    He’s just like you.

    Simon Spiel (portrayed by Nick Robinson) has a “huge ass secret” in Love, Simon… he’s gay. The seventeen-year-old hasn’t told his perfectly ordinary nuclear family or his perfectly ordinary group of friends yet, but begins communicating with an anonymous Blue via email when he finds out through the school’s gossipy blog that Blue is also, in fact, closeted. Teenage drama ensues, complications arise but boiled down to its core, you’re left with a syrupy-sweet premise and a completely revitalised romantic outlook on life.

    Despite knowing the reactions he’ll get probably won’t be as severe as they could be, Simon’s worry and fear of change encapsulate the paralysing effect of coming out – or the process of coming out – can take on any individual. As Simon attempts to figure out who Blue is, his daydreams and fantasies remind me just how much I used to do the same with every boy who smiled at me. Like Simon, I was lucky enough to have a minimal reaction when I came out; a cryfest followed by group hugs and soppy speeches from my parents. But watching the fear in his eyes when Martin (Logan Miller) threatens to leak his emails with Blue to the school reminded me just how insufferable the thought of this secret being exposed used to be. The constant guard that he has up, the fake bro talks that he has to keep having, to not let it slip is painstakingly familiar. The journey that Simon goes on, from not understanding why straight people don’t have to come out to the heart-warming post he makes where he embraces himself irrevocably, is something that I think most of us have experienced. It’s a feeling of rejoicing and acceptance that director Greg Berlanti makes you feel as if for the very first time. My eyes first watered when Simon choked on the word. He sputtered and couldn’t seem to get it out. Gay. These small nuances are what make the film more than a teen rom-com, even with the archetypal bullies and linear plot structure, there’s so much depth and warmth in this story that so many of us can see ourselves in.

    Outside of Simon and Blue, the other characters (while, for obvious reasons, not getting as much screen time) still serve valuable purposes not only to the plot but to the world built around Simon himself. His parents (played by Jennifer Garner and Josh Duhamel) give the right balance of comedic and heartfelt, making us laugh and swoon and cry. Garner and Duhamel give equally charming and memorable performances, but Garner’s speech especially had the audience waiting with bated breath until she delivered the line – “You get to exhale now, Simon.” At that point, no one even attempted to hide their tears. Speaking of the audience, every time the drama teacher Ms Albright (Natasha Rothwell) came on screen our collective shoulders were shaking and our tummies were hurting from the amount of rip-roaring laughter she instantly produced. Out of Simon’s group of friends, while Abby (Alexandra Shipp X-Men: Apocalypse) and Nick (Jorge Lendeborg Jr. Spider-Man: Homecoming) certainly had their moments, Leah (Katherine Langford – 13 Reasons Why) shone the brightest but definitely suffered from sidekick syndrome. Maybe we’ll get to see more of her in future, if Becky Albertalli – the author of the book Simon Vs. The Homosapien’s Agenda, which the film is based on – gets Leah’s book on the big screen.

    Everything from the cinematography to the marketing to the soundtrack had undertones of the old school teen movie genre, which makes sense since it’s the first major studio film focusing on a gay love story. I feel incredibly lucky to still be a teenager and have this film validate my experience with its normalcy, opening up a plethora of opportunities for more people’s stories to be told. The tagline of the film itself, “Everyone deserves a great love story”, encourages the exemplar celebration of diversity that Love, Simon does. Simon himself feels like such an easy character to get lost in, you see yourself in him or if not you, then your brother, your cousin, your friend, he’s an every man in the best possible sense and watching him fall in love is both infuriatingly sweet and extremely awkward in the best-worst relateable way as he navigates conversations with his potential love interests.

    The characters that surround him are so vividly real, with their own quirks, going through their own things, you feel a part of Simon’s world just watching him listen to his playlist as he drives to pick up his friends. That kind of audience inclusion, be it through the editing or the camera technique, enhances the moral of the film of tolerance and inclusion. I might be biased, being the exact target audience (a gay teenager) but Greg Berlanti and the whole cast and crew have created a modern-day classic for those who liked but never identified with the Cady Herons, the Ferris Buellers, the Jim Levensteins and the Olive Penderghasts. I feel incredibly lucky to now have a Simon Spier.

  • FILM REVIEW | Tomb Raider

    TOMB RAIDER – The umpteenth attempt to turn a blockbuster video game into a hit movie. Lara Croft is back for her third cinema outing cue new origin story and then a high octane action-packed trip to a Japanese jungle.


    Nutshell – We meet Lara as a troubled kid in London as a low earning cycling courier mourning the death of her parents and in particular her Dad who went missing on an antiquity hunt. She gets sucked into retracing his steps in the Far East where there are ample bad guys, endless Tomb booby traps and a total bitch of a supernatural being that could destroy the planet. Think Raiders of The Lost Ark with boobs although it does stay closer to the computer games than the Angelina Jolie two attempts.

    Running Time – 118 minutes – 12A.

    Tagline – ‘Her Legend Begins’…..and end with this Box Office

    The Gay UK Factor –  When we meet the bad guys things pick up hugely as each thug following each thug is hornier, sweatier and more muscle-bound than the last. Ok, so they all get dispatched at some point but a conveyor belt of good looking men all of which look like they were born to top, makes things very watchable – think Tinder/Scruff or Grindr the movie version.

    Cast – Alicia Vikander, Dominic West, Derek Jacobi, Kristin Scott Thomas and Daniel Wu so nobody worth getting that excited about or reach for your Fleshjack’s for but it’s the character that will sell the tickets here hopefully.

    Key Player – Core Design the company that 23 years ago designed the Lara Croft character the only computer game to have three movies and the character is also in Guinnesses Book Of Records as the most successful in computer gaming history.

    Budget – $94 Million and it is already suffering with an opening of just 25 Million. Very few movies actually make a loss nowadays with DVD/TV/Streaming/Satellite etc and most importantly the global market especially Asia and with this film set in Japan that is a lock. Sequels though may be in question.

    Best Bit – 0.49 mins; A big action set piece where Lara is escaping the bad guys via some rapids ending up clinging to various parts of an old aircraft that has crashed atop a waterfall. There are four genuine heart in the mouth moments but not a lot comes close in the rest of the movie.

    Worst Bit – 0.01 mins; Purely and simply Alicia Vikander just does not have a lot of presence and is largely unconvincing pulling off all the fights and action later in the movie from no obvious training, background or experience. She is certainly no Angelina Jolie or even Gal Gadot for that matter.

     

    Further Viewing – Lara Crofts 1 and 2, Indiana Jones 1 through 5, Jewel On The Nile but avoid all computer game/movies as from Warcraft to Assassins Creed they are all as much use as those tissues under your bed.

    Any Good – It’s passable without being outstanding. The action story and locations (with South Africa standing in for the Japanese islands) are all decent but whoever did the casting here needs their heads examining. You won’t want your money back but Angelina will hardly be worried about this taking her green T-shirt and twin guns away. It’s borderline whether this will turn into a franchise or not but a sequel will have to up its game.

    Rating – 50% out of 100.

  • THEATRE REVIEW | Kiss of the Spiderwoman, Menier Chocolate Factory

    ★★★☆☆ | Kiss of the Spiderwoman

    Kiss of the Spiderwoman, Menier Chocolate Factory
    Kiss of the Spiderwoman, Menier Chocolate Factory Review

    Manuel Puig’s story of two men incarcerated in a brutal Argentinian prison is a funny and moving take on masculinity and oppression. Molina is a campy window dresser with a love of old B movies who’s inside for ‘gross indecency’ whilst Valentin is a gruff political activist, bristling with macho ego. It’s a claustrophobic piece and at 1 hour 40 minutes with no interval, you’re pretty much imprisoned with them, watching their relationship develop in a grim cell.

    Kiss of the Spiderwoman has had many adaptations since it was written as a novel in 1976 including stage plays, the Oscar-winning 1985 film and a Kander and Ebb musical. This new version is beautifully scripted but somehow the play as a whole doesn’t feel quite there. Samuel Barnett almost captures the endearing feyness of Molina but there’s something slightly undercooked about the portrayal. Declan Bennett seems to struggle a little and the lines occasionally feel stilted. It’s more hit than miss but the piece doesn’t quite feel as tight as it should and the chemistry between the two isn’t always present.

    The set is grimily evocative and the back projections of Molina’s flights of celluloid fancy work well. Overall it’s an endearing piece and worth seeing for the glimpses of what it could have been.  There are achingly poignant moments which are something to embrace.

    Runs at the Menier Chocolate Factory until 5th of May 2018

  • THEATRE REVIEW | The Little Mermaid – Edinburgh Festival Theatre

    ★★★★| The Little Mermaid – Edinburgh Festival Theatre

    THEATRE REVIEW | The Little Mermaid - Edinburgh Festival Theatre

    *This review was taken from the Leeds Grand Theatre review*

    Northern Ballet return with their third new ballet this year, The Little Mermaid. Based on the much loved fairy-tale, the ballet tells the story of Marilla, the little mermaid who dreams of life above the waves, and who falls in love with Prince Adir after she saves him from drowning. But her love is unrequited; as the Prince falls in love with another young woman who he mistakenly believes saved him. Exchanging her tail for legs, and with her voice lost, Marilla sets about trying to win his heart.

    David Nixon’s choreography is well conceived, and executed, with a keen eye for detail and a style that lends itself well to the underwater setting.  The nuances of the choreography are impressive, with a real fluidity of movement in the underwater setting, reflecting life beneath the ocean and the gentle swaying of the current. Nothing stays still underwater, whether it is the beautifully designed flowing costumes, the mermaids held aloft as they weave and bob across the stage, or the ever-active limbs of the ensemble cast, with the sequential movement of the dancers accurately depicting the ebb and flow of the tide. But perhaps the crowning glory to this is Nixon’s use of the ensemble cast at one entity – the sea – and using these multiple bodies as one to form the ocean into a character in itself.

    The original score, which has been composed by Sally Beamish, flits between the primarily light and playful to the romantic and finally to the dramatic, feeling cinematic and engaging. The costumes work very well, with long flowing skirts that accentuate the gesticulation and mobility of the cast. Joseph Taylor was engaging and charismatic as Prince Adair, whilst Abigail Prudames enchanted as the titular character and the delicate movements of the cast as a whole was technically well executed.

    The ballet itself appears deceptively simple.  The demarcation between land and sea seems to be little more than a lighting change, and two large concave structures are used to good effect to set each location; thrusting the narrative to the forefront and portraying that with ease and clarity.  The narrative is decidedly darker than the familiar saccharine Disney version, adhering more closely to the source material, but is all the better for it. What the audience is left with is a production which requires very little thought as a viewer, allowing you to simply be able to be swept away by the music and movement on stage.

    Visit Northern Ballet’s Website for details.

     

  • FILM REVIEW | Westwood: Punk, Icon, Activist

    ★★★★ | Westwood: Punk, Icon, Activist

    REVIEW Westwood: Punk, Icon, Activist
    Vivienne Westwood – she truly is an icon, punk, activist and an inspiration to us all. Westwood called this documentary mediocre, but she is far from mediocre.

    Clothing Designer Vivienne Westwood has denounced the new documentary about her saying that the film does not at all focus on her activism but instead is ‘made up of archive fashion footage.’

    In the first few minutes of Westwood: Punk, Icon, Activist, Westwood tells the camera, and the interviewer, that she doesn’t want to talk about certain important bits of her life. And that pretty much sets the tone for the rest of this 83-minute documentary.

    Filmmaker Lorna Tucker spent three years with the fashion designer trying to get Westwood to tell her life story, and the documentary could’ve been so much more, but we still are presented with a fascinating look at a fascinating woman who changed the course of British fashion with her non-conservative designs and her extreme personality.

    Westwood: Punk, Icon, Activist, glosses over her younger years, and spends more time in the present where she presides over a global empire that she still can’t believe it’s gotten as big as it has – she doesn’t even know what half her staff does. But that’s the job for Austrian Andreas Kronthaler, who was her former fashion student and is now her husband and creative director for the brand. The documentary shows Westwood in her day-to-day life; looking over models wearing her designs, attending store openings where she says she’s not quite convinced she likes them or not, and shows Westwood cycling around London on her bike when she really should be chauffeured about in a limousine. We see snapshots of her life before she became famous, and the ex-council flat in Clapham where she lived for 30 years until 2000, and her two sons speak at times not so glowingly about their famous mother. Less is mentioned about her time with Malcolm McLaren and the clothing shop where she made punk clothes in the 1970s known as SEX which was controversial and radical for its time. Perhaps that’s a topic for another documentary.

    But what’s most fascinating about Westwood: Punk, Icon, Activist is her clothes. Whether shown in the workshops or on the fashion runways all over the world, the clothes are really a work of beauty, unique in every sense of the word. And so is Vivienne Westwood – she truly is an icon, punk, activist and an inspiration to us all. Westwood called this documentary mediocre, but she is far from mediocre.

    ‘Westwood: Punk, Icon, Activist’ is in UK cinemas on Friday, March 23rd. 

  • THEATRE REVIEW | Fat Friends The Musical – Manchester

    ★★★☆☆ | Fat Friends The Musical, Manchester

    *Review taken from the Sheffield production*

    As her wedding day approaches, Kelly buys her dream wedding dress, even though it is two sizes too small for her.

    When Julia Fleshman, the head of a national slimming club chain, comes to town to judge a slimming contest live on TV, Kelly ends up going viral with her body confident comments; and seizing the opportunity for some publicity, Fleshman offers to pay for Kelly’s wedding if she can slim into the dress in time for the big day. But with the wedding only six weeks away, the pressure is on…

    Fat Friends is very much a piece of crowd-pleasing theatre. Pulling together multiple stories of the good folk of Headingly, a town near Leeds, the stage is filled with likeable, if slightly caricatured, characters and is a straightforward evening of undemanding fun.

    The show boasts a good cast, with Jodie Prenger taking the lead as Kelly, and doing so with a cocky northern confidence and a belting singing voice. Sam Bailey (The X-Factor) is great as Kelly’s Mum and Natasha Hamilton (from Atomic Kitten) is the scheming Julia Fleshman. Thrown into the mix is an affable turn from Kevin Kennedy (Coronation Street) and ex-cricketer Andrew “Freddie” Flintoff, who takes to the stage and fares better than expected with a slightly stilted, if not tongue in cheek, portrayal of Kevin, Kelly’s nice but dim fiancé.

    The songs are amiable enough and used to move the story forward, and whilst they were perfectly pleasant to listen to and shoehorned a few laughs into the lyrics, they served their purpose well enough in terms of keeping up the show upbeat and jolly, but were ultimately fairly forgettable. The live orchestra added to the atmosphere within the theatre and the set design was a colourful cartoonish affair which was well lit and effective in its simplicity.

    Written and directed by Kay Mellor, who wrote the original TV series that the show is based on; Fat Friends is a rather loud, boisterous and upbeat show, which really resonates with its target audience. It’s a rather clichéd musical by numbers, with a heavy-handed script, fairly trite lyrics and a rather unsubtle approach to its humour, but what it lacks in sophistication, it makes up for with likeable characters, a few good belly laughs and buckets-full of near the knuckle, northern charm.

    Fat Friends is at the Opera House Manchester until the 24th March 2018, book tickets click here

  • ‘Angels in America’ Set for Broadway Return

    After receiving stellar reviews in London, the revival of Tony Kushner’s Pulitzer Prize–winning drama Angels in America descends on Broadway. Opening March 25, Part One: Millennium Approaches and Part Two: Perestroika will run on consecutive nights. (more…)

  • How The ‘Love, Simon’ Movie Is Different From The Book

    With adaptations coming out so often, fans know by now that not everything from the book can make it into the movie and the aspects that do appear sometimes are changed. All of this rings true for “Love, Simon,” the film adaptation of Becky Albertalli’s 2015 novel, “Simon vs. the Homo Sapiens Agenda,” about a gay teenager named Simon who finds love and finds himself. (more…)