THEGAYUK

Category: Theatre

  • THEATRE REVIEW | Coming Clean, Trafalgar Studios,London

    ★★★★☆ | Coming Clean

    Before the late Kevin Elyot wrote his hit 1994 play My Night with Reg, he wrote Coming Clean (which opened in 1982). It’s now back in the West End after a recent successful run at the King’s Head Theatre.

    Both shows deal with the trials and tribulations of being gay, and being in gay relationships. But where My Night with Reg had an AIDS backdrop, Coming Clean takes place during a simplier time, before the HIV crises and before gay men were dying right and left and centre.

    At the heart of Coming Clean is the story of a bi-racial couple who, after five years together, obviously have issues. Tony (a natural Lee Knight) and Greg (Stanton Plummer-Cambridge) still love each other, but there is slight tension in the air.

    Greg is a successful teacher and writer, while Tony is a not-so-successful writer who writes when he feels like it. And then there is their neighbour William (a fabulous Eliot Hadley), who is funny, camp and all so great to have around. But Tony needs more time to write, and says he doesn’t have time to clean the Kentish Town flat that he and Tony live in, so enter Robert (Tom Lambert), who is hired to clean for them.

    It’s obvious where this biting play goes next, but it wonderfully takes us with it through sharp wit and extremely funny one-liners.

    And Coming Clean successfully incorporates early 1980’s songs by, among others, Men at Work and Barbra Streisand (where her and Barry Gibbs voices on the song ‘Guilty’ are just like butter) to set the mood of the times.

    The actors are all very good, with Hadley just about stealing the show (he comes back near the end of the play as a totally different character – think German Leather), and Knight looks very comfortable on stage.

    It’s an intimate stage that could double as a large living room (Trafalgar Studios), and it’s even more of a treat for those audience members who sit in the first row, as they get to be very very close to Lamberts’ bits. This show is highly recommended!

    Coming Clean plays at the Trafalgar Studios until February 2nd, 2019. Book Tickets Here

  • THEATRE REVIEW | Songs for Nobodies, Ambassadors Theatre, London

    THEATRE REVIEW | Songs for Nobodies, Ambassadors Theatre, London

    ★★★★☆ | Songs for Nobodies

    Credit – Nick Brittain

    Songs for Nobodies is actually songs for everybody in a new one-woman show now playing in the West End.

    Australian Bernadette Robinson treats the audience to her ability of being able to sing, uncanningly, like several very famous female singers. But before we get to hear her sing the five voices included in this show Robinson sets up by five fictional characters who each come in contact with each singer. Before she sings the fabulous ‘Come Rain or Come Shine’ by Judy Garland, Robinsons’ character is Bea Appleton, a bathroom attendant at the Plaza Athénée on the night of Garland’s famous Carnegie Hall appearance. Robinson as Appleton goes on to tell the story of their fictional encounter and then breaks out into song. And the same goes for when Robinson sings Patsy Cline’s beautiful ‘Crazy.’ Robinson is now an usher in Kansas City and meets Cline in her dressing Room. Similar monologues set her up singing as Billie Holiday and Maria Callas, but it’s Robinson singing Edith Piaf’s ’Non, Je ne Regrette Rien’ that brings down the house.

    But for a 90-minute show with no interval, there are a mere 9 songs sung. It’s a shame that Robinson’s speaking voice and not her singing voice encompasses most of the show. It’s a very beautiful singing voice, especially in such an intimate venue as the Ambassadors Theatre.

    Songs for Nobodies, written by Joanna Murray-Smith, (and named as such because of the characters Robinson plays as opposed to the characters she performs as), is a show starring a woman with a special voice that’s a gift, and is now playing only up until February 23, 2019.

    Songs For Nobodies play as the Ambassadors Theatre until the 23rd Feb 2019. Book now

  • THEATRE REVIEW | Moscow City Ballet’s The Sleeping Beauty, Sheffield

    ★★★☆☆ | Moscow City Ballet’s The Sleeping Beauty

    Set to the music of Tchaikovsky, and recounting the fairy tale of The Sleeping Beauty; Moscow City Ballet return with one of their better presented, yet staunchly traditional ballets; as Princess Aurora is cursed by the evil fairy, Carabosse, and sleeps for 100 years until she is awoken by the kiss of a prince.

    Of the various ballets in Moscow City Ballet’s repertoire, this is perhaps one of the better presented pieces. With its feet planted very much in the traditional tights and tutu’s style ballet, this production lacks the dramatic flair of Matthew Bourne’s New Adventures; and doesn’t have the detailed narrative of Northern Ballet; but does offer a timeless take on a classic ballet which is used to showcase the dancer’s skills and talents, rather than deliver an exhilarating narrative or flashy visuals.

    With some impressive costumes and utilising a static set of backdrops to create a workable dance space, there were times when the ballet sparkled and really came alive, especially during the ensemble pieces and, in particular, in the opening scenes of Act 2, which were quite charming. But despite the technical ability of the dancers, the choreography felt rather lacklustre at times, especially towards the end of the third act where it all became rather repetitive. Compounding that, there appeared to be little connection between the characters on stage, with the dancers performing with fixed grins whilst staring out into the middle distance, and not really looking as if they were enjoying themselves at all.

    Sleeping Beauty is a mixed production. When it is at its height, it has genuine charm; but does have a few lulls in the pacing of the production, especially as it tails off towards its conclusion. But that said, it has some technically excellent performances from the company and is about as traditional as they come.

    If you are looking for an accessible, straight forward evening of ballet which showcases the skill and suppleness of these talented individuals, then this may well be the production for you.

    Moscow City Ballet are at Sheffield Theatres until 12th January 2019 before continuing on their national tour showcasing four ballets, Swan lake, The Nutcracker, The Sleeping Beauty and Romeo & Juliet. Details can be found on their website.

  • THEATRE REVIEW | Nine Night, Trafalgar Studios

    ★★★★☆ | Nine Night

    It may come as quite a surprise to learn that Nine Night is the first play from a Black, British female writer to make it to the West End. I’ll just let that sink in for a moment.

    Nine Night is Natasha Gordon’s deft exploration of the traditions of a West Indian wake, referenced in the title, a time when the departed are honoured and remembered by living relatives over a celebration of nine nights, fuelled with upbeat music, home cooked food and the ever so important in most West Indians drink cabinet – rum! Against this, as the backdrop, the semi-estranged family gather to mourn and then slowly unlock a string of revelations, all in the kitchen.

    It is certainly a play for everyone and anyone to enjoy but is most definitely a must-see for anyone of West Indian heritage, a rare chance to see some of the most intimate parts of their culture brought out into the wider public gaze. And while such kitchen-sink dramas have been a staple of British Theatre since the ’60s, few productions have featured so many characters drawn so exquisitely.

    For me, the play came to life immediately through its authenticity particularly when the thick Jamaican accented Aunt Maggie and Trudy, cousin and daughter of Gloria respectively, began to speak. It is such a revelation to hear those gorgeous tones, sonic beacons of ethnic diversity uttered from a stage deep in the hallowed ground of the West End.

    As I said, it is a play for all but as a West Indian spectator the whole resonated with my background and experiences, I bought into the scenes and scenarios displayed before me, one which tugged my heartstrings, jogged deep-rooted memories and spoke to my very being.

    I felt Trudy’s emotion, angst and painful need to be wanted as soon as she appeared on stage but it was only towards the end of the play that I felt that writer’s character, Gloria’s daughter Lorraine, was given a chance to step out of an, up until then, mostly monotonous role and we began to see our writer and storyteller of Nine Night swell with emotion.

    It is a testament to the writing and the characters that had been created for them that the rest of the cast each stand their ground memorably, especially in their approach to grieving their beloved matriarch. We witnessed some wilfully theatrical overacting from daughter-in-law Sophie, which wonderfully balanced her husband Robert’s convincingly ill at ease performance. Uncle Vince delivered a humble contrast to his cantankerous wife and introduced some clever and subtle sub-texts about his relationship with the late Gloria.

    Even if the scenario is unfamiliar to many in the audience, Aunt Maggie acted as the perfect host, inviting us into the late Gloria’s house and breaking the inherent tensions with her hilarious one-liners; quips and asides that that could strip wallpaper without steam.

    Natasha has done a masterful job with the writing and production of Nine Night. I thought it would be interesting to see her role developed more in perhaps an amended version of her character Lorraine. I would certainly watch it again and recommend it heartily to everyone, no matter what their cultural background, as what is at the heart of this smart play is something everyone can relate to.

    It’s essential that both Natasha Gordon and Nine Night’s place in theatre history is appreciated: but it’s at least as necessary to remember that it’s a great play – I will certainly drink to that!

    Nine Night runs until 23 Feb 2019 at the Trafalgar Studios, CLICK HERE TO BOOK

    Running Time: Approx. 1 hour 45 mins no interval

    By Ray Si – a member of IGLTA

  • Theatre Review | Kiss Me, Kate – Crucible Theatre

    ★★★★☆ | Kiss Me, Kate – Crucible Theatre

    Written by Cole Porter in the 1940’s, Kiss Me, Kate is a delightful, old-fashioned musical, combining the classic elements of mistaken identity, a will they/won’t they love story, a bit of swindling and a bunch of likeable characters all interwoven with an appealing collection of songs by one of the best composers of the era.

    Porter’s tale stages a play within a play, telling the story of Fred Graham, an actor and director who casts his ex-wife as his co-star; and finds himself in hot water when one of his other leading men signs off a gambling debt in his name. He tries desperately to keep his musical production of The Taming Of The Shrew on track, as a couple of inept gangsters show up to collect the debt and Grahams relationship with his ex-wife sways between love and hate. But as everything falls apart and the backstage bickering starts to mirror the story on stage, Graham does everything he can in ensuring that the show must go on.

    The songs from Kiss Me, Kate are some of Porter’s most sterling work, with an overarching jazzy vibe which made the musical numbers delightfully catchy. The songs still sparkle and fizz with wit and humour, and there is a show-stopping number at the opening of each act. “Another Openin’, Another Show”, “Tom, Dick or Harry” and “Too Darn Hot” were all proper toe-tappers, and the multiple reprises of “Brush Up Your Shakespeare” were delightfully laughter inducing.

    Edward Baker Duly and Rebecca Lock were superb as the quibbling couple, whilst Dex Lee was criminally underused as Bill and his triple threat status certainly makes him one to watch; but stealing most of their scenes were Delroy Atkinson and Joel Montague as the ham-fisted mobsters. Paul Foster directs with a steady hand, whilst Strictly choreographer Matt Flint keeps the musical numbers light and fun. Only the costume and set design let the show down slightly, with too much of a cartoonish feel to both to really work.

    Kiss Me, Kate is firmly established as a classic, traditional musical and this is a fun, frenetic and frivolous production which, as a sucker for an old-fashioned musical, I found very hard to resist.

    Kiss Me, Kate is at the Crucible Theatre, Sheffield until 12th January 2018. Visit their website at www.sheffieldtheatres.co.uk for details and tickets.

  • THEATRE REVIEW | The Band

    ★☆☆☆☆ | The Band


    The new show The Band is not, as you might think, a musical about Take That – but it damn well should’ve been.

    What we get is a show about four forty-something women who reunite after not having seen other for a long time to see their favourite boy band (now of course no longer a boy band) at a reunion tour concert in Prague. Why Prague you might ask? Because one of the women won a competition to see the band perform there. Why couldn’t one of them have bought tickets to a more local show if they loved the band so much? Well, that would’ve been too easy and would’ve left out one of the major plot points of this show – a broken penis.

    Yes, a broken penis. You see, while the women are in Prague, they get a bit carried away and break the penis off of a priceless statue. Now, if this would happen in real life the women would’ve gotten heavily fined, and perhaps jail time. But when said penis, which is attached to a statue that actually does come to life (before the said penis is broken off), with the penis visible for all the audience to see, it makes for one of the most unintentional laughable moments in the West End. It’s not just laughable – it’s shockable! Who signed off on this scene? And this is just the tip of the iceberg. Take That’s big hit ‘Relight My Fire’ is sung while the characters (while still schoolgirls) are on a bus heading home from a concert, with the carefully hand-picked cast of the boy singers dressed up in bondage gear (with horse helmets). And then all of a sudden out of nowhere one of the girls is killed. Hmmm?

    Another head scratcher is when the song ‘Never Forget’ is sung by the fab five in an airport lounge. There is also a bit of fat shaming in the show (one of the women is obese). Did I mention that the boys can’t really hold a tune and sing in harmony? Or in tune? Not once is the band introduced as characters, meanwhile, they glossfully sing in the background to scenes that have no real connection to the songs.

    This is a jukebox musical that is as empty as a machine with no quarters in it. Sure the songs are great (who doesn’t love a Take That song or two), and one of the women happens to be lesbian, and AJ Bentley has the strongest vocals of all, but what do you expect from a musical show where the singers (boyband) were chosen from a reality television show?

    Whoever signed off on this mess should be really ashamed of themselves. Robbie, Howard, Gary and Mark – you listening?

    The Band plays at the Theatre Royal Haymarket, London. Book tickets now

  • THEATRE REVIEW | Northern Ballet’s The Nutcracker – Leeds Grand Theatre

    ★★★★☆ | Northern Ballet’s The Nutcracker – Leeds Grand Theatre

    Everyone has their own event which confirms to them that the festive season has arrived, and for some, Christmas isn’t Christmas until they have had their traditional trip to see Tchaikovsky’s The Nutcracker. The ballet tells the story of Clara, a young girl who is given a gift of a nutcracker which comes to life, and the handsome Nutcracker Prince transports her on a magical journey to battle The Mouse King, to sweep through a snow-filled forest and on to a celebration in an enchanted garden.

    There are a number of things to recommend this production, there is humour in its presentation, with some well-timed moments of comedy, whilst the scene in the snow-filled wood was enchanting. David Nixon has choreographed a thoroughly enjoyable ballet which simultaneously feels both traditional and fresh, and which has benefitted enormously from its new look and costumes.

    Northern Ballet is well known for their theatrical presentation and their storytelling; both of which combine to make this revamped production ideal for all. Young families will be charmed by the magic and spectacle; ballet novices will find the story accessible and enjoy the well-paced number of short set pieces which provides plenty of variation; and for those with a love for ballet, there are the technically impressive performances. Throw into the mix a live orchestra performing a score which you will instantly recognise and you have all the elements of a beautifully presented ballet.

    The Nutcracker is an utterly charming, enchanting and high-class production which is full of sparkle; and if the end of the first act doesn’t leave you feeling festive, then very little will.

    Northern Ballet’s The Nutcracker is at Leeds Grand Theatre until the 16th December 2018. Visit www.northernballet.com for more details

  • THEATRE REVIEW | Rock of Ages – National Tour

    ★★★☆☆ | Rock of Ages – National Tour

    (C) JEREMY DANIEL

    A number of years before TV series Glee rekindled people’s love of Journey’s “Don’t Stop Believin’”, Rock of Ages had been using the song as its centrepiece for some time; as the show tells the story of a bunch of misfit characters who battle to save their favourite bar, fall in love and work their way through a catalogue of eighties soft rock classics.

    Beautifully held together by narrator, Lonny (a deliciously camp performance from Lucas Rush), and with a strong ensemble cast, the show’s humour is a little close to the bone on occasions but proves to be immense fun, with plenty of laugh out loud moments, some great ensemble set pieces and some excellent vocal performances. Luke Walsh stands head and shoulders above the crowd as Drew, belting out the musical numbers with, seemingly, no effort whatsoever and never once having to strain or force a note.

    The production has certainly benefitted from a makeover, especially in the excellent lighting design; the musical numbers come at you thick and fast and the cast gets the audience involved from the outset. Whilst underneath it all, the show has a message about following your dreams, it’s the party atmosphere, energy and enthusiasm of the cast that sweep you along as the show heads towards its rousing finale and brings the crowd to their feet.

    Rock of Ages cranks up the comedy, camp and chaos to eleven, and proves that “sex, drums and rock ‘n’ roll” are still very much alive.

    Rock of Ages is on National Tour. For details visit the show’s website at http://www.rockofagesmusical.co.uk/ 

  • THEATRE REVIEW | Magic Mike Live, Hippodrome Casino, London

    THEATRE REVIEW | Magic Mike Live, Hippodrome Casino, London

    ★★★★| Magic Mike Live, London

    Expect to be titillated, turned on, terrified (a bit) and perhaps tortured when you go see the newest, and hottest, strip show in town.

    Channing Tatum presents Magic Mike Live, on stage in London at The Hippodrome Casino. And while Channing Tatum won’t be on stage taking his clothes off for the audience’s pleasure (though he did attend last week’s opening night), you can guarantee that what you’ll get is exactly what you saw in Tatum’s Magic Mike films where Tatum, and several other hot actors, played male strippers (Magic Mike (2012) and Magic Mike XXL (2015)). Both films made lots of money – and so will this show (tickets range from £29 to £95).

    Magic Mike Live is 90 minutes of pure adult entertainment (for the ladies) where more than a dozen good-looking, sexy, hot, and did I mention sexy? men perform for the screaming crowd in a dance and acrobatic spectacular in front of, behind, and literally above their audience. But things get better when the men strip off (to their black undies) and give lap dances to the lucky audience members for performances that are unforgettable and breathtaking.

    What is forgettable is the emcee for the evening – Sophie Linder-Lee. Her task is to talk the audience through the action – but it is really necessary? The action, and the male flesh, speaks for themselves!

    The theatre at the Hippodrome Casino has been transformed into an intimate, state of the art, magical new home just for Magic Mike Live. And the show is booking all the way to October 2019 – this is how popular the show is!

    Just remember, it is strictly an over 18 only event, and sure the audience members are allowed to touch the men, but just be careful that your hands don’t wander to parts unknown!

    And after 90 minutes, your heart and blood, will be racing for what is being billed as ‘the sexiest, steamiest show in town.” And while it’s mostly for the ladies, on the night I saw it there were about 6 guys in the audience – a couple were accompanying their missus but the others were gay. So don’t be intimidated – go see the show. And hopefully one of the boys will give you a lap dance!

    Magic Mike Live plays at the Hippodrome Casino, London until Sunday 27 October 2019. Book now

     

     

     

  • THEATRE REVIEW | The Wizard Of Oz, Birmingham Rep

    ★★★★★ |The Wizard Of Oz, Birmingham Rep

    • a marvel spectacle matching the West End

    This seriously was the most fun I’ve had at a theatre for a long time. My jaw dropped countless times at the set, costumes, effects and the talent of the ensemble. The Wizard of Oz by Frank Baum, with music and lyrics by Harold Arlen and E Y Harburg, is a story that has been part of every generation, and The Rep pulled out all the stops with this gem.

    From the start, you were gripped by Dorothy’s plight, and we highly sympathised with her not wanting to give such a cute dog away. The first scenes, our hearts melted with the use of a real dog who just looked adorable as the scenes moved and swished around him. Chisara Agor played Dorothy with much sweetness and love, making for a very heart-wrenching story live on stage. Chisara was very dexterous with her singing and movement abilities; it made for an unstoppable watch.

    The three main characters, Scarecrow (Ed Wade), Tin Man (Dillon Scott-Lewis) and Lion (Kelly Agbowu) were surreally brilliant; sublime in their characterisation. Other than the original film, their portrayal was my favourite, and I felt like a kid again. I was a little nervous that the show may have been more for children, but every generation was in awe and drawn in with the magic and illusion. Ed was superb as the scarecrow with mannerisms being truly identical to the film, but with his own twist, rolling around and walking differently. Dillon was a movement mastermind. His dance ability resulted in a masterpiece performance of Tin Man – the way he walked and moved was an eye-popping effect on its own. I would watch it again purely to watch Dillon as Tin Man. Lion, played by Kelly, though lacking in courage, had vocal chords of an Angel, seriously what a voice! I can see why Lion had many songs as Kelly‘s voice was heavenly.

    The set, designed by Angela Davies, was honestly spectacular. I have seen many shows now, but this show really made me feel like it was my first time experiencing new wonders. I can’t imagine how excited the children must have been in the audience.

    The character of Oz was incredible – a massive head with eyes and mouth that moved as Oz spoke, and it made to appear like it was a real giant’s head. This was worth the wait.

    The highlight of the show for me was the Munchkin dance when Dorothy arrives into the land of Oz and crushes the Wicked Witch of the East. The puppets, designed by Samuel Wyer, together with performers puppeteering them, dazzled the audience, and I just kept hearing ‘wow’ and ‘oh my god’ from all around me. The detail of the characters and the versatile movement of each character was a stroke of genius. I could watch that routine over and over again.

    Never have I wanted to recommend a show as much as The Birmingham Rep’s The Wizard of Oz.

    Running: 24 November – 13 January

  • THEATRE REVIEW | Dietrich Natural Duty, Wilton’s Music Hall, London

    THEATRE REVIEW | Dietrich Natural Duty, Wilton’s Music Hall, London

    ★★★★★ | Dietrich Natural Duty

    Marlene Dietrich has been called to duty – and lucky for us it’s in London.
    Dietrich, star of many a stage and film, as well as many a front line during WWII, was a legend, was a humanitarian, and was perhaps one of the most famous women of the 20th Century. Now, for a second time this year, we can bathe in her presence, and voice, in a show called Dietrich Natural Duty: A One (Wo)man Show now playing at the almost gorgeous as Dietrich venue Wilton’s Music Hall.
    In a stunning, shimmering, glittery beaded golden sequin dress, Dietrich (played to perfection by Peter Groom), takes us back to the time when she, in 1942, amidst the battlefields, turns her back at the country of her birth, Germany, and helps to rally, and excite, the troops. Through a mix of song, wit, curves, and a voice to die for, Dietrich Natural Duty is an irresistible and breathtaking show where Groom just about channels his inner and outer Dietrich to shear perfection. This show, and Groom, is mesmerising and will take your breathe away.
    Duetrich Natural Duty: A One (Wo)man Show ends its run on Saturday November 24th. To buy tickets, please click here: