THEGAYUK

Category: Theatre

  • THEATRE REVIEW | Fat Friends The Musical – Birmingham

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

    *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 New Alexandra Theatre, Birmingham until the 7th April 2018, book tickets click here

  • COMPETITION | Win Tickets To See Young Frankenstein in London

    WIN TICKETS TO MEL BROOKS HILARIOUS MONSTER MUSICAL – STILL THE FUNNIEST SHOW IN LONDON

    Legendary filmmaker and comedian Mel Brooks brings his classic monster musical comedy Young Frankenstein to life on stage in an all-singing, all-dancing musical collaboration with Tony-award winning Broadway director and choreographer Susan Stroman. Grandson of the infamous Victor Frankenstein, Dr. Frederick Frankenstein (pronounced ‘Fronk-en-steen’) inherits a castle in Transylvania leading him to fulfil his grandfather’s legacy by bringing a corpse back to life. With help and hindrance from hunchback henchman Igor, buxom assistant Inga and needy fiancee Elizabeth, his experiment yields madcap success and monstrous consequences.

    STARRING Hadley Fraser, Lesley Joseph, Cory English, Dianne Pilkington, Summer Strallen

    Competition terms and conditions apply. All prizes are subject to availability for any Monday to Thursday show until 30 May. The winner will be contacted with details on how to claim their prize. Certain black out dates apply.

    BOOK ONLINE NOW (TICKETMASTER) | BOOK ONLINE (LONDON THEATRE DIRECT)

    BOOKING NUMBER 0330 333 4811

    Booking Until
: Saturday 29 September 2018
    Tickets From
: £20
    Show Times: 
Monday – Saturday, 7.30pm
 Wednesday & Saturday, 2.30pm
    Running Time 
Approximately: 2hrs 20mins including one interval
    Theatre
: Garrick Theatre
    Age Recommendation: 
Parental Guidance

    Competition Terms

    All entrants must be over the age of 18.

    Entry to the competition is free.

    The competition closing date is: 1st May 2018.

    All prizes are subject to availability for any Monday to Thursday until 30 May.

    Except where it is expressly stated that the winner will be the first correct entry or entries drawn at random from the total entries submitted.

    THEGAYUK.com reserves the right to change the rules or void the competition at any time.

    Winner(s) of prizes will be announced on the THEGAYUK.com website and/or notified within seven days after the winner(s) have been ascertained. Names of winners and results competitions will be available on request, enclosing a stamped self-addressed envelope.

    If a prize winner cannot take part or does not claim their prize within seven days the prize will be awarded to another randomly drawn entrant.

    Entrants will be deemed to have accepted and agreed to be bound by these terms and conditions.

    This prize is for two tickets only, winners are responsible for their own travel, food and accommodation while in London.

    There is no cash alternative in any circumstances whatsoever to the prizes offered. Prizes are not transferable unless otherwise stated. If for any reason an advertised prize is unavailable TheGayUK.com reserves the right at its absolute discretion to substitute a similar prize of equivalent or greater value. Only one prize will be awarded per household.

    Tickets to be picked up in person at the box office.

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  • 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.

  • 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.

     

  • 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…)

  • THEATRE REVIEW | The Kite Runner, Birmingham Rep

    ★★★★☆ | The Kite Runner,  Birmingham Rep

    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

  • THEATRE REVIEW | Brief Encounter, Empire Cinema Haymarket

    ★★★☆☆ | Brief Encounter

    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.

    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

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

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

    **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.