THEGAYUK

Category: Entertainment

  • THEATRE REVIEW | A Princess Undone, Park Theatre, London

    ★★★☆☆ | A Princess Undone

    Long before Diana, there was a princess who was a definite queens’ queen. Fags, booze, a withering put down and a tragic relationship history: she’d probably have had a lot in common with most of the regulars in your local gay bar. Richard Stirling’s witty play looks at the ageing Margaret in 1993 when she had made a decision to burn the archives and was rooting through old letters and documents, ably assisted by her mother’s camp servant ‘Backstairs’ Billy. Into this picture of domestic disharmony comes an embarrassing old flame who’d she rather forget, gangster John Bindon.

    Felicity Dean is a magnificent Margaret and has a stage presence that is sure to make the audience nervously sit up straight and curtsey on the way out. There’s something deliciously terrifying about her. The script is full of searing little one-liners and references to amusing bits of Royal gossip. There’s an amusing thread running through the script about Bindon’s legendary mammoth dick, too. Strangely, though, the play just doesn’t really work as well as it should. The jokes fall flat and whilst funny it never raises much more than a wry smile. The characters mostly feel a little bit one note and there’s nothing especially revelatory about the play.

    If you’re a fan of Margaret (and if you’re not, then what the hell is wrong with you?) then this is a diverting couple of hours at the theatre and worth a look.

    Runs until 17.03.18 at the Park Theatre, London

  • THEATRE REVIEW | Dust, Soho Theatre

    ★★★★★ | Dust, Soho Theatre

    Alice, the central character of Dust, is dead, looking on as the aftermath of her suicide causes unexpected reactions. Don’t expect Patrick Swayze style saucy potters’ wheels or James Stewart’s revelations about how wonderful life is, though. This is certainly not one of those kinds of stories. Life for Alice hasn’t been wonderful at all due to crippling depression. Sounds like the bleakest show ever? Thankfully, at the hands of writer/performer Milly Thomas this is a compelling story that has raw humour and is half gut-wrenchingly sad and half gut-achingly funny.

    She’s a 21st-century woman who just happens to have been suffering from intractable depression. She’s also totally relatable. Embarrassing relatives, uncomfortable sex and a boyfriend with a penis that looks like a five-year-olds’ drawing of a mushroom: who hasn’t experienced one (or all) of the above?

    Occasionally gross, frequently candid and eminently likeable, it’s hard not to root for Alice, even though you know what’s coming for her. This is a rarely innovative handling of a sensitive subject with all the taboos ripped away.

    Runs until 17.03.18

  • THEATRE REVIEW | Quartet – National Tour

    THEATRE REVIEW | Quartet – National Tour

    ★★☆☆☆  | Quartet – National Tour

    Cecily, Wilfred and Reggie are three ageing opera singers, happily spending their twilight years in a retirement home for ageing artists, but their days reminiscing on their time in the spotlight are abruptly interrupted by the sudden and unexpected arrival of Jean, a former collaborator, a fading star and the ex-wife of Reggie. With an opportunity to reform the quartet for one final performance at the home’s annual gala, will old rivalries, old feelings and old friendships stand in the way of their last performance?

    Paul Nicholas’ stands out from the cast with a confident and rather polished performance as the somewhat frisky Wilfred, a character simultaneously brimming with bravado and with insecurities; whilst Sue Holderness plays the somewhat crestfallen soprano, Jean, with an air of believability. Jeff Rawle’s passive to aggressive character transformations are well handled, and Wendi Peters gives a sly wink and a knowing nod to the audience with her portrayal of the slightly eccentric Cecily which stays on the right side of caricature.

    Production wise, the play is set in the confines of a music room at the retirement home; with the wooden panelled walls encasing the sturdy and detailed box-set; which was accompanied by a lighting and sound design which were befitting and perfectly functional. The narrative is based around whether the four singers will perform together, but delve a little deeper and you will find themes of both holding on to, and letting go of, the past; and about moving on from past mistakes.

    This is a very gentile and steady play, with little more to offer its audience than some competent performances and a wordy, and at times, wandering script. Given the setting and the characters, there is little in the way of visual stimulation or on stage movement to engage the audience, and therefore the writing is left to carry the piece; which it does with varying degrees of success. A few moments of comedy were set against some rather dry passages in the script, and the melancholy themes of growing old and facing your own mortality were intermingled with some quick-witted put-downs and comedic one-liners; alongside some subtle and not so subtle humour.

    Quartet is a bittersweet play which is not for everyone. It’s slowly paced and rather sedate, and may well reward the patient audience member, but requires a sharp focus on the script rather than a reliance on the visuals.

    Quartet is currently on national tour

  • THEATRE REVIEW | Beautiful: The Carole King Musical, Milton Keynes

    ★★★★☆ | Beautiful: The Carole King Musical, Milton Keynes

    **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 Milton Keynes Theatre, Milton Keynes until 24th February 2018

    The show then continues on its national tour until 23 June 2018. Click here to book tickets.

  • When does American Crime Story: Versace start in the UK and on what channel?

    The Assassination Of Gianni Versace: American Crime Story has a broadcast date for the UK and a channel.

    When does American Crime Story: Versace start in the UK and on what channel?

    BBC 2 has been confirmed as the broadcaster for The Assassination Of Gianni Versace: American Crime Story, the story behind the murder of world-famous designer Gianni Versace.

    The air date of the first episode is the 28th Feb on BBC 2.

    Following the Bafta award-winning The People Vs OJ Simpson, the hugely successful series returns to BBC Two with The Assassination of Gianni Versace: American Crime Story.

    Episode one: The Man Who Would Be Vogue

    Written by Tom Rob Smith (London Spy), the nine-part drama profiles the cross-country path of destruction that culminated in the murder of an international fashion icon.

    July 15, 1997: Gianni Versace (Edgar Ramirez) is shot by Andrew Cunanan (Darren Criss, pictured) on the steps of Versace’s Miami villa. As the killer flees, the media descends and the world reacts.

    1990: An enthusiastic Andrew – who changes identities and opinions depending on who he’s talking to – contrives an introduction to Versace at an exclusive San Francisco nightclub, and wrangles a date to an opera which has been costumed by the famed designer.

    Also starring Penelope Cruz as Donatella Versace, and Ricky Martin as Versace’s partner Antonio D’Amico.

    Episode one is directed by Ryan Murphy and the series is executive produced by Ryan Murphy, Nina Jacobson, Brad Simpson, Brad Falchuk and Tom Rob Smith.

     

    The Assassination Of Gianni Versace: American Crime Story start on BBC 2 28th Feb 2018 at 9PM

  • THEATRE REVIEW | Angry, Southwark Playhouse

    ★★★ | Angry, Southwark Playhouse

    For someone who’s a fan of Philip Ridley’s work this promised to be a thrilling night and one which I was looking forward to. Six new monologues are performed by one actor/actress. The roles are gender neutral with switches in who plays which monologue each night. So far so good. Sadly, though, the evening felt somewhat disjointed with writing that felt like off-cuts.

    If you know Ridley’s work then you’ll know what to expect but that also that you can never quite predict what’s going to be on offer. All the classic Ridley elements are there: incandescent rage, confrontation with the audience, wild flights of fancy and other wordliness. Whilst the plays are disturbing, dark and devilishly funny, they just don’t feel meaty enough to grab you.

    ‘Bloodshot’ is a bizarre tale of a young man/woman who has a strange erotic encounter with a younger male. ‘Angry’ is a shouted piece of pure fury and ‘Air’ is a longer piece that looks at a cataclysmic chain of events. There are moments of pure delight and pure horror which don’t disappoint. However, whilst Tyrone Huntley and Georgie Henley are both accomplished actors and bring the writing to life ultimately, the evening is too disconnected and muddled to have the impact it should.

    https://southwarkplayhouse.co.uk/show/angry/

    Until 06.02.18

  • THEATRE REVIEW | Girls and Boys, Royal Court Theatre

    THEATRE REVIEW | Girls and Boys, Royal Court Theatre

    ★★★★☆ | Girls & Boys, Royal Court Theatre

    Any play that starts out with the line ‘I met my husband in the queue to board an Easyjet flight and I have to say that I took an instant dislike to the man’ you know you’re going to be hooked. And that’s how Girls & Boys pulls you in a tight grip and never let’s go.

    It’s not just the sharp dialogue that grabs your attention, it’s also the way it’s delivered, by the super famous actor Carey Mulligan. And she’s solo for the entire show – a one-woman show about her character’s relationship with the man she met at the airport, their life together, which produced two children, and then, as nothing in life is totally perfect, the relationship with her husband breaks down, but that’s not the end of it. An unspeakable tragedy happens, and by this time Mulligan and Girls & Boys has sucked us in, and doesn’t let go. It’s heartwrenching and heartbreaking.
    Mulligan IS terrific. She flits back and forth from delivering the monologue directly to the audience but then jumps into a scene in the show, in her white living room – devoid of colour, and life. There she plays with her two children, but they are actually not there, they are invisible but a reminder that her past life was full of love and life, but is now full of emptiness. Mulligan reminisces about a life that was to good to be true, and it was.
    Mulligan, star of the recent critically acclaimed film Mudbound, is a formidable presence on the stage. You forget she’s a famous actress because you get wrapped up in the story, of her telling of it, as she wraps and grasps the audience in the story. A tight sharp script by Dennis Kelly and crisp direction by Lyndsey Turner make this 90 minute show a must see, unfortunately, it’s sold out for its entire run.
     

  • THEATRE REVIEW | Beautiful: The Carole King Musical, Glasgow

    ★★★★☆ | Beautiful: The Carole King Musical

    **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 King’s Theatre, Glasgow until the 17th February 2018

    The show then continues on its national tour until 23 June 2018. Click here to book tickets.

  • THEATRE REVIEW | Fat Friends The Musical – Sheffield

    ★★★☆☆ | Fat Friends The Musical

    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 currently playing at Sheffield Lyceum Theatre until the 17th February 2018 (www.sheffieldtheatres.co.uk) before continuing on its national tour until the 2nd June 2018. Visit the show’s website at www.fatfriendsthemusical.com for details.

  • Star Trek legit put a guy in a jock strap in the latest episode

    Finally, Star Trek has changed the rules and it’s not just the women who are sexualised.

    The latest series of Star Trek, available on Netflix, has broken the mold of just sexualising women in its scenes. For years only women were put into barely-there clothing or in positions to titillate the often-male Captains and the straight male viewer, but in a groundbreaking move, going boldly where no other Star Trek season has gone before, Discovery put a man in a jockstrap in a sex scene along with two other women.

    It’s fair to say this series has broken many barriers. We had the first gay kiss and focus on a same-sex relationship, the first series which focussed on the story of a woman of colour (who had a typically male name) and, let’s face it, kick-ass graphics.

    Wanna see the NSFW pictures? CLICK HERE

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  • ‘Get Out,’ ‘Call Me by Your Name’ win big at WGAs

    “Get Out” and “Call Me by Your Name” won top prizes at the Writers Guild of America Awards Sunday, three weeks before the Oscars, the glittering climax of Hollywood’s awards season. Writer-director Jordan Peele picked up the trophy for best original screenplay for “Get Out,” a dark satire of the African-American experience and liberal white guilt. (more…)