A petition urging Disney not to portray Elsa as a lesbian in Frozen 2 has reached almost 11,000 signatures. The action was launched after Jennifer Lee, the film’s co-director, replied “we’ll see where we go” when asked whether script writers had decided the sexuality of the fictional Queen of Arendelle. (more…)
Gritty, raw and a history lesson like no other.
The Kite Runner, by Khaled Hosseini, is a sensational book and it made critical acclaim as a film too, so expectations were always going to be high. Adapted by Matthew Spangler, The Rep play version created a new window to look through the melodrama and tragedy surrounding the life of Amir.
The story centralises itself around Amir, a well-to-do Pashtun boy, and Hassan, a Hazara who is the son of Ali, Amir’s father’s servant. Hassan is the fastest kite runner the town has ever seen, and he teaches Amir the art, all so Amir can impress his stone-faced father.
This must have been a hard concept to attempt to translate from a novel page to a main house stage, but Barney George’s design painted a very raw picture. The set moulded itself to suit outside and indoors with little effort. Fluid scene changes via media projections, and a curtain in shape of a kite which was used to shield viewers from hard-to-watch moments. Live percussion, performed by Hanif Khan, brought a mystical layer to the melodrama. The sound effects were also harrowing in parts.
What made this production special was the cast of The Kite Runner. Raj Ghatak, as Amir, really helped us see the character come to life through language, enacting young and older Amir, as well as punchy speeches with sincere conviction. Jo Ben Ayed stole the show, with his portrayal of Hassan, formidable dexterity in playing a young boy while showing mature emotions. Jo’s characterisation contributed to the emotional experience felt in The Rep auditorium. The unrelenting loyalty to Amir was masterfully achieved by Jo. The boys’ fathers Baba and Ali played by Gary Pillai and Rez Kabir respectively, enhanced the sense of tradition and honour. Both actors shone, adding a darker tone to the narrative. Assef was a sickly and revolting character, played expertly by Soroosh Lavisini.
Soroosh’s movement and speech was skin-crawling and made it hard to watch, but this was a true depiction of the nasty and malevolent personality.
This production is close to three hours long, but through gripping action, efficient set, light, sound and everything else involved, The Kite Runner left us with the feeling we could have watched more.
The Kite Runner runs at the Birmingham Rep until the 24th March 2017
LGBT representation in these films has been sorely lacking – and whilst Black Panther has brought some much-needed diversity to the screen, it also cut a reference to a lead character’s sexuality. In addition, last year’s brilliant Thor Ragnarok introduced audiences to Tessa Thompson’s badass Valkyrie – but whilst the actor was keen to play the character true to her bisexual origins, no mention of this was made on screen. With new generations finding inspiration in these films, shouldn’t they be finding representation too? It’s about time we got an LGBT superhero on the big screen – and here are some of the potential Gay, Lesbian and Bisexual heroes who could set the silver screen alight.
The X-Men comics are hugely popular amongst a gay readership – the tales of a band of outsiders persecuted by the larger world, the parallels to the gay community are clear. Bobby Drake or, to call him by his codename, Iceman, was a founding member of the X-Men and appeared in the very first issue of the comic back in 1963. Whilst the other original X-Men have had torrid romantic lives over the years, Bobby had a number of girlfriends, but none ever stuck. An encounter with a time-travelling younger version of himself (even more complicated than it sounds), led to Bobby accepting what he’d been hiding for so many years – and he’s now an out and proud gay man who’s recently been exploring his new outlook on life in a fantastic series by queer writer Sina Grace.
Iceman has already been on the big screen – portrayed by Shawn Ashmore in X-Men, X2, X-Men The Last Stand, and X-Men: Days of Future Past. Movie Iceman was shown in a relationship with Anna Paquin’s Rogue – but maybe it’s time Iceman made a reappearance and came out of the closet. The planned solo ‘Kitty Pryde’ movie could be a great time for Iceman’s sexuality to be explored in more detail – and as a fun, witty, everyman he could be a great fan favourite if portrayed properly
Jean-Paul Baubier, who goes by the codename Northstar, became famous as a member of the Canadian comics group Alpha Flight. Northstar is important as he’s probably the first high profile out gay character, with his sexuality heavily hinted at by writers, but not being clearly stated until 13 years after his first appearance. Jean-Paul then made history by marrying his partner, Kyle in a much-publicised wedding back in 2012 – making him the first Marvel hero to be in a Gay marriage. Witty, sassy and full of snark – Northstar could be a great hero on the big screen. Cast someone suitably elfin like Lee Pace to play him, and not only would you have a modern and contemporary hero, but the potential to portray a stable gay relationship in a medium where they’ve yet to make an appearance.
Film company Fox has made a film of comic book group the ‘New Mutants’, which is due for release in 2019. That film is set to feature all of the founding members of that group, with one notable exception – Karma. Xi’an Coy Manh, is a character from Vietnam – with a power of psychic possession and a harrowing origin tale. First appearing in 1980, Karma came out as a lesbian in a comic published in 2002. She’s not received much focus over the years, but could be a great character to receive some time and attention on the big screen, with her dark origins, struggle to be a responsible figure for her younger siblings, and discovery of her sexuality meaning she could be a great fit for the more “teen” orientated New Mutants film, and I’m hopeful she’ll be top of the list should they get optioned for a sequel.
Two for the price of one with these two – Midnighter and Apollo are a superhero couple who first appeared in Stormwatch – a book published by Wildstorm comics. Wildstorm has now become a part of DC comics, and Midnighter and Apollo brought into the same universe as Batman, Superman and Wonderwoman amongst others. They may look relatively familiar – Midnighter is an ultra-violent vigilante who dresses all in black, and Apollo is a caped superhero with flight and super strength… However, the difference between two and the more famous Batman and Superman, is that Midnighter and Apollo are openly gay, and in a relationship. They’re a hugely fun pairing who’ve had their romantic ups and downs over the years, and whilst the similarities to Batman and Superman may mean that Midnighter and Apollo may not be showing up in live action films anytime soon, they’re ripe for inclusion in DC’s ever-growing portfolio of animated films.
The son of Wolverine, Daken is hot, frequently shirtless, very angry and openly bisexual. Introduced in 2007, he’s an angsty, troubled character who’s constantly unpredictable and thus always very readable. Confident yet conflicted, Daken is less about forming relationships and more about using sex as a way of manipulating and controlling people, whether they be man or woman. With Hugh Jackman stating that he’s not coming back as Wolverine, there’s room for a clawed killer who can take his place and look damn good doing it – and Daken is definitely my pick.
Yes, not Catwoman (who, for the record, is bisexual – something fleetingly hinted at in The Dark Night Rises, but Catman. Thomas Blake, was initially designed as a villain for Batman to face, but has become a far more balanced and sympathetic character over the years, showing up in the Secret Six book and coming out as bisexual. With it highly likely that the DC movies are going to bring us yet another version of Catwoman – why not stop and switch to Catman instead? He’d bring some much-needed Bi-Visibility to the movie universe, and if written well could be a darkly sexy counterpoint to the straight-laced Bruce Wayne.
We’ve had two versions of Mystique on the big screen – first played by Rebecca Romjin in the original X-Men trilogy, and then by Jennifer Lawrence from First Class onwards. Whilst the recent films have given Mystique motive and heart, the character is far removed from her comic book self. Mystique, or Raven Darkholme, first appeared in 1978 – the adoptive mother of Rogue and the biological mother of Nightcrawler, she’s a complicated, fascinating and untrustworthy character who constantly keeps the reader on their toes. Openly bisexual, Mystique and her former partner Irene Adler served as Rogue’s parents – and despite Mystique’s villainy, they were a loving, tender couple, leading to Mystique’s utter heartbreak when Destiny died. As a character who has yet to find any real happiness in the films – isn’t it time Mystique got a girlfriend?
Miguel Santos first appeared in a Marvel comic in 1990 – a man whose encounter with a mysterious machine left him capable of both being and controlling lightning. He appeared on and off over the years – and in 2005 was revealed to be gay. He’s recently moved up to the big leagues in the current Avengers: No Surrender event that’s taking place in the comics. With actors like Chris Evans and Robert Downey Jr coming to an end of their contracts in the Avengers’ films, and big-name deaths predicted for the upcoming Infinity War, the timing couldn’t be better for introducing Miguel Santos to the movie universe – and giving us a gay Latino hero with plenty of sparks.
Think Batman, but with pops of red on the costume, flowing locks and perfectly applied lipstick – and you’ve got Batwoman. Kate Kane appeared in the DC universe proper in 2015 and she’s a remarkable character. An out lesbian, she’s got a unique look – whether in her brilliantly designed costume or dressed down as her pale-skinned, rockabilly self. She’d certainly brighten up a film universe that’s been rather monotone so far, and her interesting and timely backstory as a marine discharged due to her sexuality, is one that could work extremely well on the big screen.
Two for the price of one here – Wiccan and Hulkling are two young lovebirds from the Marvel Universe. With Wiccan’s magical abilities and Hulkling’s shapeshifting skills, these are a powerful and beloved pairing who would look brilliant on film. Their story, as gay teens accepted and loved by those around them, could be a valuable piece of representation on film, and it’d be great to see a new generation of Avengers be built around this pair.
DC’s sarcastic, magic-wielding and Liverpudlian detective John Constantine is a hugely popular character who’s made a few live-action appearances over the years, with a Keanu Reeves led film that completely missed everything that made Constantine such a brilliant character. A TV series in 2014 provided a brilliant Constantine in the form of welsh actor Matt Ryan, but sadly decided to steer clear of addressing Constantine’s bisexuality. However, Ryan has now made appearances in the tv show Legends of Tomorrow where he’s flirting up a storm with both men and women, and I’m hopeful that he’ll be pulled into the DC cinematic universe before too long.
Critics hated Suicide Squad when it was released in 2016 – but Margot Robbie’s Harley Quinn was a standout star, and the character swiftly became a fan favourite. Whilst the film chose to portray Harley’s doomed and abusive relationship with the Joker, in the comics, she’s moved on from that sadist and found love and companionship in the form of Poison Ivy. Two intensely intelligent characters (Harley has a PhD in Psychology and Ivy one in Botany) with compelling motives, they’re close friends in an open relationship. With the upcoming ‘Gotham City Sirens’ movie mooted to contain both Harley and Ivy – it could be a great place to see their bond forming.
Much like Harley Quinn, Renee Montoya was created for the Batman Animated series, before being pulled through into the DC comic line. A police detective, Renee was outed as a lesbian and later left the police force and became an investigative hero known as The Question. A character who’s gone through huge amounts of change since her debut, Renee is a compelling character who could fit well into the dark and grimy movie world that DC have created so far.
Both Marvel characters, these two came together in 2009, 22 years after Rictor’s first appearance, and 18 years after Shatterstar’s. One a mutant with earth quaking abilities, and one a time travelling, dimension hopping superhero, both came to prominence as members of a team called “X-Force”, and with an “X-Force” film scheduled to be released in the next few years, the stars could be aligning for Rictor and Shatterstar’s big screen debut. Here’s hoping they keep Shatterstar in full 90’s garb – ponytail and all!
Piotr Rasputin, or Colossus, has been a mainstay of the X-Men books since his first appearance in 1975. The original version of Colossus is straight, and currently engaged to be married – but an alternate and gay version of Colossus appeared back in 2001 in Marvel’s Ultimate line of comics. This version of Piotr was a Russian arms smuggler – but found happiness as a hero with the X-Men. Colossus has been portrayed on film a fair few times now, but only ever as a minor character. His most recent appearance in the Deadpool film had his Russian accent spot on – so maybe his appearance in the sequel could see his sexuality explored?
Another alternate universe character here – this is a Wolverine who appeared in the X-Treme X-Men book back in 2012. This version had a few differences from the Wolverine who’s featured in the main Universe – his claws were gold, and he happened to be in a relationship with Greek God Hercules. This hairy pair were very popular with fans – and with Wolverine likely to be recast now Hugh Jackman has stepped down from the role, why not give us a gay, golden clawed Wolverine?
First appearing in DC comics back in 1988, Extrano (or Gregorio De La Vega) was a fairly camp stereotype whose biggest storyline was the reveal of him having HIV. In 2016, Extrano reappeared in the DC universe as a mature, handsome sorcerer who could be a great ally for Constantine or a friend for Midnight and Apollo.
Given her popularity, it’s surprising that America Chavez hasn’t already made an appearance in the Marvel Movie Universe. First appearing in 2011, she’s a strong-willed, powerful and openly queer latino character. The upcoming animated film Marvel Rising: Secret Warriors is due to feature her, and hopefully, she’ll be pulled into the live action film universe soon enough.
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Emma Rice’s tribute to Noel Coward’s Brief Encounter is back after 10 years away and in an unusual venue: a cinema in the West End. Sadly it’s not a triumphant return and is a bit of a mixed bag. Part parody, part homage; it just doesn’t quite know what it is and suffers as result.
If you don’t know the classic David Lean film from 1946 (where have you been?) then it’s a story about two married strangers from the suburbs who conduct a very chaste affair in and around a railway station cafe. It’s characterised by tight dialogue, clipped accents and Celia Johnson smoking an unfeasible amount of fags. It’s very much of its time but also contains beautiful and resonant dialogue. The Kneehigh theatre company’s version is one full of trickery. The cast act out the story against clever back projections, sometimes literally bursting out of the cinema screen. There are cheeky little props, the odd Noel Coward song and lots of deft little touches.
Whilst the two main actors play it straight as the po-faced couple headed for heartache, the rest of the cast camp it up as the remaining bit players. This is where the problem lies. It all becomes too much and a bit panto at times. There’s lots of face pulling, whimsy and larking around. Whilst it works part of the time it all feels a bit much at others. Less is sometimes more.
Overall, it’s a fun show but I’m not sure it’s going to rock anyone’s world.
Brief Encounter runs at the Empire Cinema Haymarket until September 2018
We have listed some of the most successful, critically acclaimed French-made/language films and rated them on their Rotten Tomatoes’ (RT) where available.
A Special Friendship
Set in the 1930s the story follows two students who become close friends with tragic consequences. The film is based on a novel. Its plot was considered so controversial in 1964 its American release was postponed for three years.
My Life In Pink
A French/Belgium drama about a young child (Ludovic) whose gender expression leaves the family struggling. The film won a Golden Globe Award for Best Foreign Language Film.
Summertime
La Belle Saison is another French/Belgium romance film between two women. Set in 1971, farmer’s daughter Delphine moves to Paris to find her own path when she is introduced to Carole. The rest, as they say, is history.
The film set on a tranquil isolated lake in a beautiful corner of the French countryside where the beachfront is sparsely occupied by a handful of men sunbathing in the buff. Behind them lies a small wood which is a busy cruising area for gay men.
This is a wonderful erotic thriller, well-written and beautifully photographed in a way that belies the fact that this idyllic looking spot hides such violent and deadly deeds. The story places passion before danger and proves that it is not always a wise choice.
Being 17
The film follows the sexual awakenings and blossoming romance between two 17-year-old boys who begin their relationship in violence.
The break out coming of age, pan-European film of 2017, based on the novel of the same name. A young man falls in love with his father’s summer intern. The pair falls in love over a long Italian summer with a bitter-sweet ending.
Two men meet at one of Paris’ most popular, and notorious, gay sex clubs, and then embark on an evening with lots of twist and turns, in the new film Theo & Hugo.
You might think you’re watching a gay porn film as the first 20 minutes of Theo & Hugo is full-on man-to-man action – erections and anal sex are all on full display, filmed at L’Impact – a naked gay sex club in the Marais district in Paris. Theo and Hugo, In French, with English subtitles, is shot in real-time, and it’s in that club where Theo and Hugo meet, at exactly 4:27 a.m., amongst the writhing and moaning group of men who are all enjoying each others’ company.
A classic comedy romp and the precursor to the 90s Robin Williams / Nathan Lane hit, The Birdcage.
The Invisibles
A refreshingly honest and prevailing documentary film following the lives of eleven elderly gay men and women, something which has had little representation in gay culture.
A superb collection of intimate autobiographical stories on what it was like growing up being gay and the pain of suppression. Somehow it seems more sincere coming from elderly people with incredibly fascinating memories to share. It was so easy to become affectionate towards these unashamed individuals and their lives.
A Song of Love
Grounding-breaking for its time, Un chant d’amour was actually banned in 1950. Set in a French prison, the guard becomes infatuated with his prisoners. It is just 26 minutes long and there is no dialogue.
**This review was taken from the Sheffield date**
During the 1960’s Carole King was part of one of the most successful songwriting partnerships of the era, writing hits for The Shirelles, The Drifters and Little Eva; leading to success with songs including “Will You Still Love Me Tomorrow”, “The Loco-Motion”, “(You Make Me Feel Like) a Natural Woman”, “You’ve Got A Friend” and “I Feel The Earth Move”. But behind the success was a personal struggle for King in trying to make her marriage with Gerry Goffin, her philandering husband and songwriting partner, work; and it is her rise to the top and her troubled home life which form the backbone of the story for this musical biopic.
Beautiful really stands apart from the usual jukebox musical/musical biopics, given the quality of the writing, presentation and performances. The narrative absorbs you straightaway; and there is an abundance of instantly likeable characters, a wonderfully sharp script filled with warmth, humour and personality and a lighting design which really does bring the stage to life, making it feel bright, bubbly and brimming with energy.
But the quality was not reserved only for the look of the piece, but extends to its rather talented cast members. Bronte Barbe was delightfully charismatic as Carole King, projecting a powerful voice without ever having to force a note; and exuding a natural and believable on-stage chemistry with Kane Oliver Parry as King’s husband, Gerry Goffin. Amy Ellen Richardson and Matthew Gonsalves bounced off each other nicely as the bickering Weil and Mann; and the entire cast, including the ensemble, all stepped up the plate in terms of their vocals, alongside some incredibly competent acting, giving rise to very believable performances across the board.
The first act, detailing King’s success within the music industry, brings with it a barrage of 17 musical numbers which are performed with flair and vigour; whilst the second act is slightly more downbeat and more drama focussed, as the decline of King’s marriage and her growth into a solo artist are depicted.
Although you may not have heard of Carole King, her music is embedded into popular culture, and with the number of songs that you immediately recognise adorning the stage, you realise just how much of an influential songwriter King really was. Ultimately, this is a story of love, hope and determination, and a production which rises above the usual jukebox musicals with a set of strong central performances, in particularly Bronte, and a polished, professional and quality feel.
Beautiful is at the Sunderland Empire, until the 10th March 2018
The show then continues on its national tour until 23 June 2018. Click here to book tickets.
*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 Milton Keynes Theatre, Milton Keynes until the 10th March 2018, book tickets click here
Daniela Vega gives an award-worthy performance in the Chilean film A Fantastic Woman. Vega’s performance as a woman who, after the death of her lover, is rejected and scorned by his family that is superb.
You see, Vega is transgender, and her character Marina Vidal, who happens to be an aspiring singer, is also, of course, transgender. She and her lover Orlando (Francisco Reyes) had a regular relationship, but his ex-wife and son never truly accepted her nor her relationship with Francesco. But after a birthday celebration where they shared a romantic dinner, a sexy dance in a club, and a night of passion at home, Francisco starts having problems breathing, and after a tense drive to the hospital, Francesco dies, and in panic and a state of confusion, Marina walks away from the hospital. But after a police car picks her up and takes her back to the hospital, she realises that she’s being treated as a suspect in Francesco’s death and not as a grieving partner. To make matter much much worse, Francesco’s grown up son wants her out of Francesco’s apartment, and his ex-wife wants his car and explicitly tells Marina, to her face, that their relationship was perverted and not normal. It’s too much for anyone to take, but Marina is strong, and she will do anything to attend Francesco’s funeral, even when Francesco’s family tries to keep her way. Marina loved Francesco and wants to say a final goodbye.
There’s no doubt about Vega’s performance. We feel her pain, and her anger, and her confusion over the series of events that have happened in her life in a short period of time. Vega is a revelation, and she should’ve been nominated for a Best Actress Oscar, nevertheless she’s been nominated for a slew of other awards, and has won Best Actress at the Palm Spring International Film Festival, while the film, written and directed by Sebastiån Lelio, won the prestigious Teddy Award at the Berlin International Film Festival. ‘A Fantastic Woman’ is really fantastic, one of the best films of the year, and Vega’s performance will most definitely move you.
A Fantastic Woman is now playing.
Ever seen Jubilee? The visionary, anarchic mash-up of gay sex, brutal anarchy and transcendent mysticism? If not, load up the fresh, newly-released blu-ray and gorge on Jarman’s genius now – the new theatre adaptation’s completely superfluous!
Why? How could a show awash with copious, writhing nudity and irreverence possibly bore audiences stiff? Well, because of two words – total misinterpretation. Sure, back in the viciously closeted, mid-70s, Jubilee seemed fantastically liberationist, but now – in this version at least – reads as fatuous self-
indulgence.
Partly, that’s due to the ironic paradox of intolerance lurking at the heart of current identity politics. Rather than properly embrace the utopian dream of guilt-free self-expression – which the movie Jubilee pointed towards – this treatment merely showcases bullying exhibitionism – moral, spiritual and sexual- at any cost.
Perhaps that’s not surprising – it is, after all, a poisonously accurate portrait of current society. Briefly – for those unfamiliar with the movie¬ Queen Elizabeth the First, played with appropriate fire, spunk and glory by Toyah Wilcox – is mystically translated into a future punk-rock, nihilistic dystopia by her court magician, Doctor John Dee, to witness the spiritual wreckage to come. And truthfully, the staging concept is simply marvellous in evoking the blurred boundaries between hard-edged naturalism and soaring, psychedelic fantasy that any worthwhile treatment of Jubilee demands.
From moment one, Toyah’s in character, hands clasped pondering at a candle-lit desk, while all around her, performers shamble and sidle amongst the audience, creating a dislocating sense of timeless impermanence, the sense that this particularly potent fiction will persist before, after and during our attendance.
But, there’s one huge problem – non-existent dramatic tension. Sure, Jubilee’s neo-punks prowl randomly during the interval, desperately hoping to own the space with the nuclear panache of street thugs, but quite laughably, they come across as less threatening than the fluffiest pack of neutered kittens! Frankly, this tired notion of provocative engagement with the audience -wrongly perceived as daringly new and radical- limps all the way back to the dark ages of the 1970s, when the Living Theatre troupe desperately tried to wank, molest and similarly bore uninterested audiences!
And tragically, the evocation of laissez-faire decadence – so crucially important to Jarman’s aesthetic – is lazily rendered here as nothing more than indiscriminate coitus and casually –torched petrol-bombs in prams. Ah, couldn’t we have even a touch of imaginative and highly exclusive excess, a mere three hundred years after De Sade, such as mixed-donor, frozen spunk lollies gleefully scoffed by one and all?
Okay, admittedly, Jubilee does boast a stunning range of high-voltage movement and shouty charisma, particularly with Sophie Stone’s Bod, but too often, a fine actorial balance collapses, and we feel as if we’re eavesdropping on some shock-jocks soiree. And arguably, the casual, often unwise nudity does make a possible argument for instant, erotic euthanasia, the new, theatrical crime of flaunting uncharismatic genitals!
Still, there’s the fizzy counterbalance of Toyah Wilcox’s Elizabeth oozing genderqueer warmth and traction, alone, lyrical voice soaring from this interminable pit of soiled, post-modern divinity and lost opportunity.
Lost opportunity? Of course- rather than giving current trans discourse sharp, incisive wings, Jubilee merely muddles variant gender expression. That’s hardly the fault of the shockingly vivid and explosive Travis Alabanza, who- playing alternative historian Amyl Nitrate- is obviously on gender-variant hyper-drive, but rather, the entitled assumptions behind the scripting. Why should any individual’s desire – right or wrong – automatically trump any other moral imperative or sense of compassion?
And again, since when did ‘trans’ become such an elastic, unnuanced label that it simply denotes any bloke mincing onstage in bad drag? The self-evident absurdity of that line of thinking necessarily means accepting Les Dawson and other cismale comedians as ‘trans’, and doesn’t that completely devalue the struggles – political, medical and surgical – of trans figures who’ve either partially or fully transitioned?
Still, despite its incoherent and often contradictory artistry, Jubilee – like all the best theatre –is thrillingly provocative if short on answers, and – like our current Queen Lizzie herself – snatches at elusive shreds of majestic glamour. Ultimately, Jubilee is ambition re-imagined as art, the bedrock of all theatrical brilliance!
If you’ve never seen the 1971 cult classic film ‘Harold and Maude’ then you’ve missed out. Poignant, darkly humorous and with a lilting soundtrack by Cat Stevens, it’s a thing of beauty. Sadly, the same can’t be said about this relentlessly trying-too-hard-to-be quirky revival of the later stage play.
Harold is 18, disaffected and troubled by chronic ennui. He spends his days attending funerals and annoying his overbearing society matron mother by faking his own suicide. Maude is 80 and is a free spirit who is enchanted by life and has a penchant for petty larceny, providing it has a sound moral basis. The two meet (at a funeral, naturally) and an oddball romantic comedy develops. Sheila Hancock has huge shoes to fill (the sublime Ruth Gordon played Maude in the film) but does this admirably. Bill Milner manages to convey the blank-faced and nihilistic Harold with aplomb. Whilst the set does look like it should be hosting something on CBeebies, it serves a purpose. The problem isn’t in the play or the cast but in the production.
If this production was a person it’d be posting inspirational quotations on Instagram and spending every waking moment trying to convince you just how unique, witty and quirky it is. In other words, you’ve have blocked it on social media within a minute of knowing it. Distractingly, the cast all stay on stage throughout the piece, doing ‘comical’ things with musical instruments (yes, there’s a ukulele and someone plays the spoons, of course). There’s an abundance of little touches, like a man making seal noises, for example, and it’s nauseatingly twee and feels like a bit of an irritating mess. Rather than add to the production it just ends up a being a bit annoying.
Whilst the play does have merits with strong acting, some jaunty music and the odd funny moment, on the whole, you’d probably be much better off watching the film instead.
Runs at the Charing Cross Theatre until 31.03.18
**This review was taken from the Sheffield date**
During the 1960’s Carole King was part of one of the most successful songwriting partnerships of the era, writing hits for The Shirelles, The Drifters and Little Eva; leading to success with songs including “Will You Still Love Me Tomorrow”, “The Loco-Motion”, “(You Make Me Feel Like) a Natural Woman”, “You’ve Got A Friend” and “I Feel The Earth Move”. But behind the success was a personal struggle for King in trying to make her marriage with Gerry Goffin, her philandering husband and songwriting partner, work; and it is her rise to the top and her troubled home life which form the backbone of the story for this musical biopic.
Beautiful really stands apart from the usual jukebox musical/musical biopics, given the quality of the writing, presentation and performances. The narrative absorbs you straightaway; and there is an abundance of instantly likeable characters, a wonderfully sharp script filled with warmth, humour and personality and a lighting design which really does bring the stage to life, making it feel bright, bubbly and brimming with energy.
But the quality was not reserved only for the look of the piece, but extends to its rather talented cast members. Bronte Barbe was delightfully charismatic as Carole King, projecting a powerful voice without ever having to force a note; and exuding a natural and believable on-stage chemistry with Kane Oliver Parry as King’s husband, Gerry Goffin. Amy Ellen Richardson and Matthew Gonsalves bounced off each other nicely as the bickering Weil and Mann; and the entire cast, including the ensemble, all stepped up the plate in terms of their vocals, alongside some incredibly competent acting, giving rise to very believable performances across the board.
The first act, detailing King’s success within the music industry, brings with it a barrage of 17 musical numbers which are performed with flair and vigour; whilst the second act is slightly more downbeat and more drama focussed, as the decline of King’s marriage and her growth into a solo artist are depicted.
Although you may not have heard of Carole King, her music is embedded into popular culture, and with the number of songs that you immediately recognise adorning the stage, you realise just how much of an influential songwriter King really was. Ultimately, this is a story of love, hope and determination, and a production which rises above the usual jukebox musicals with a set of strong central performances, in particularly Bronte, and a polished, professional and quality feel.
Beautiful is at the New Victoria Theatre, Woking, until the 3rd March 2018
The show then continues on its national tour until 23 June 2018. Click here to book tickets.