THEGAYUK

Category: Theatre

  • THEATRE REVIEW | The Exorcist, Phoenix Theatre, London

    ★★★★ | The Exorcist

    THEATRE REVIEW | The Exorcist, Phoenix Theatre, London

    Breaking news: There is a young girl who is possessed by the devil in the West End.

    Her name is Regan, and she is 12 years old. She once used to be a playful little girl, happy, singing, always with a smile on her face. Then one day she started mentioning to her mom that she had an imaginary friend in her room. This friend, which went by the name Captain Howdy, would talk to her, and tell her to do things. But eventually Captain Howdy started to take over her life, and her body, while mysterious and strange goings-on take place in the house (windows opening, doors not closing, strange writing on the wall). But the worst was yet to come. Regan started to harm herself, and harm others, and the sight of blood didn’t phase her. But she was becoming extremely dangerous, not just to herself, but to the people in her household, which includes her actress mother’s best friend and film director, Burke Dennings. At some point, Regan needs to be tied to her bed, and it’s then, and only then, that we realize that Regan is possessed by the devil. She spews vomit, turns her head at a 360-degree angle, and levitates over her bed – actions that only can be performed by something that is very very evil – not of this world. Regan’s mother by this time has lost her wits – she doesn’t understand and can’t cope with all this, so she brings in Father Damien Karras whose job it is to determine if Regan is actually possessed, and soon enough he realises this is the case. So it’s time for the Exorcism and it will take the work, and expertise, of one Father Merrin to free Regan of the evil inside of her, an evil that could kill Regan if it’s not exorcised out of her in time.

    Based on the hit, and terrifying movie of the same name, and now cleverly adapted for the stage by John Pielmeier, The Exorcist is scaring audiences at The Phoenix Theatre, and scaring is putting it mildly. What the director, Sean Mathias, and cast have done is to have successfully brought the story to a live audience and all of its bone-chilling and terrifying moments. With the excellent performance by Clare Louise Connolly who lives and breathes Regan and the voice of the devil by Ian McKellan in tandem they practically make is a believable experience. Peter Bowles chews up his scenes as Father Merrin and Adam Garcia is a very good as Karras while Tristram Wymark as Dennings has the much needed funny lines in the show to relieve the chills. The Exorcist is downright scary, not suitable for children, but nice and scary for the adults. Perfect for this time of year.

     

    The Exorcist plays at the Phoenix Theatre until 10th March 2018

  • THEATRE REVIEW | Legally Blonde – Sheffield Theatres and National Tour

    ★★★ | Legally Blonde – Sheffield Theatres and National Tour

    With a penchant for pink, an encyclopaedic knowledge of fashion and an excitable outlook on life, sorority sister Elle thinks she is about to get engaged to her sweetheart and live out a life of pink, fashion-filled happiness. But instead of proposing, he dumps her for not being serious enough, and she decides that the best way to win him back is to follow him to Harvard and graduate in law. Despite not being the average Harvard student, she soon surpasses everyone’s expectations and earns a place on her law professor’s internship, where she helps to represent a famous fitness guru who is charged with murder. But can Elle prove her worth in the courtroom, or will she forever be perceived as being Legally Blonde.

    Based on the hit 2001 film, this show has all of the usual musical elements present and correct. From cheerleading sorority sisters to the sleazy law professor; this feel-good musical has a will they/won’t they love story, an underlying moral message about being true to yourself and plenty of fun to be had along the way.

    Lucie Jones (X-Factor) is surprisingly impressive as Elle Woods, performing the lead role with a fine voice and a natural and affable stage presence. Rita Simons (Eastenders) provides strong support as Pauline, Elle’s hairdressing friend, and plays the part with just enough of a tongue-in-cheek feeling to pull off the role; and the ensemble cast give it their all whilst constantly looking like they’re having fun

    Unlike many musicals, Legally Blonde has a stronger second act and doesn’t sag in the middle, meaning that whilst the show doesn’t endear itself to you from the outset, the writing, pace and momentum keep building until you do eventually fall for its charms. At times, the show is not too far away from a sing-through musical; with a barrage of songs which are catchy, if ultimately forgettable, and that progress the narrative nicely. The musical numbers are varied, fun, colourful and broadly energetic with musical highlights including a courtroom witness dilemma and trying to decide Is He Gay or European, an eighties style workout number in Whipped Into Shape and a cheerleader ensemble in What You Want.

    Legally Blonde is a fairly shallow piece of fluff, which has an abundance of bubble-gum pink and giggly sorority sisters, but also has with it an infectious feel; a vibrant energy, good-natured humour, plenty of colour and, most importantly, lots of fun. The production is bold, brash, camp and loud, and whilst this is not life changing theatre (and it never pretends to be), it serves its role as a rather enjoyable couple of hours of escapism.

    Legally Blonde is currently playing at Sheffield Theatres until the 4th November 2017 before continuing on its national tour through to June 2018.

  • THEATRE REVIEW | Witness for the Prosecution, County Hall, London

    ★★★★★ | Witness for the Prosecution, County Hall, London

    REVIEW | Witness for the Prosecution

    Depending on your age and/or love of black and white films, you may know Witness for the Prosecution from the classic 1957 film with Charles Laughton and the divine Marlene Dietrich. No? Maybe you saw the recent BBC adaptation with Kim Cattrall as the murder victim, wealthy Emily French? No? Well, either way, you’re in for a treat. Even if you already know the deliciously cunning twists in this courtroom drama, you’re going to be knocked for six by the production.

    1950’s London and personable working class chap Leonard Vole is up before the courts, accused of bludgeoning to death a lonely (and rich) older woman in her St John’s Wood home. Things aren’t looking good for Leonard, especially as she’d just changed her will in his favour, and the gallows are looming. His only alibi is from his glamorous and frosty Teutonic wife, Romaine but will she vouch for him in court and help his cause or are things about to take a more complicated turn?

    Agatha Christie’s dramas are often wrongly seen as somewhat twee and cosy; the stuff of Sunday afternoons with a nice cup of tea. Here, you get to see Christie’s dark mind in all its sinister glory in a blood-splattered tale that is horrifying at times. OK so there’s the usual parade of thinly sketched and clichéd characters but that’s part of Christie’s charm too.

    One of the big draws of this production is the staging. Set in a courtroom, here we see it staged as authentically as is possible as we’re in…yes…a courtroom. Well, almost. It’s a debating chamber inside the sumptuous, disused, Art Deco County Hall (at the back of the London Eye, behind the aquarium) and it’s convincing. You could almost be in the public gallery watching the drama unfold. It’s high drama and more than a tad camp as there’s a soundscape of echoing footsteps, clanging doors and assorted gasps. It’s a thrill ride of chilling and thrilling twisty-turning fun.

    Forget The Mousetrap, Leave that for the West End tourists and head down to Westminster for a rare treat.

    Witness for the Prosecution plays at County Hall until 11th of March 2018

  • Five must see LGBT theatre you have to see this winter in London

    The nights are drawing in and the temperatures are getting cooler. That’s no excuse to stay in watching yet another reality TV show, though. 2017 has been a bumper year for theatrical smashes in the capital and it’s set to continue for the remainder of the year and into the New Year. Grab your mac, don your scarf and get yourself down there.

    Here’s the Top 5 must-see LGBT London shows for Autumn/Winter 2017/18:

    Everybody’s Talking About Jamie: The glorious posters are everywhere on the tube: Jamie’s upturned faced, painted lips and his artfully made up glittery eyes. Fresh from a highly acclaimed and multi-award-winning run in Sheffield, Jamie is about to enter the capital’s Apollo Theatre with previews from the 6th of November and booking till April 2018. This feel-good musical has a good pedigree. It’s based on a BBC documentary about the trials and tribulations of a wannabe teenage drag queen growing up on a rough estate  There’s new music by The Feeling’s Dan Gillespie-Sells and Tom McRae. We loved it so much we gave it a resounding 5-star endorsement. What more do you need to know? Book now.

    The York Realist: Turns out that Sheffield is at it again. Not only have they sent us some damn fine cutlery and The Human League but now we get another LGBT play. Set in 1960s Yorkshire, this is a touching tale of a farmhand straining against his roots. Directed by Robert Hastie (My Night with Reg), this promises to be a drama worth fighting for tickets for. This runs from February 2018 but don’t wait till the New Year to book. You need to act fast as tickets are almost sold out. 

    Matthew Bourne’s Cinderella: Christmas wouldn’t be Christmas without a trip to see a Matthew Bourne ballet at Sadler’s Wells. Cinderella is one of his campest and also one of my favourites of all his ballets and it makes a welcome return to the capital. Dashing airmen, a wicked stepmother based on Joan Crawford at her meanest and some Blitz glamour in the bombed out Café de Paris? Hell, there’s even a scene with dancing hookers and rent boys. What are you waiting for? It runs from 9th of December to January 2018.

    Strangers in Between: After two runs at the ultra LGBT + friendly theatre, The King’s Head, ‘Strangers in Between’ returns to the stage and this time in the West End at Trafalgar Studios 2. Tommy Murphy’s play is about something lots of us can identify with, being a small town boy and moving to the terrifying big city. We liked this a lot when it last ran. Don’t just take our word for it. It hits the stage again from the 10th of January to the 3rd Feb 2018

    Above the Stag: You may or may not have been to this gay-themed theatre venue in Vauxhall. OK, so it’s in a railway tunnel (although they’re planning a move) and some of the shows are hit and miss but it’s worth chancing it for one of the hits. They also have a very saucy annual pantomime and you can top off the evening experiencing the joys of the area (and I don’t mean Vauxhall Pleasure Gardens). Visit them now.

  • THEATRE REVIEW | Cabaret – Leeds Grand Theatre and National Tour

    ★★★★ | On New Year’s Eve in 1938, American writer Clifford Bradshaw arrives in Berlin, and finds his way to the Kit Kat Club, a burlesque club hosted by the enigmatic Emcee, where the fluidity of sexuality, gender and sexual expression flow as freely as the gin. There he meets Sally Bowles, an excitable, if naïve, English woman, who performs at the club; and the two of them embark on an affair. But as the Nazi party rises to power, their friends both at the club and within the community find that their lifestyle places them all at risk as the nation starts to divide.

    THEATRE REVIEW | Cabaret - Leeds Grand Theatre and National Tour

    Starring Will Young and Louise Redknapp, this classic musical written by Kander and Ebb, needs very little introduction. Including the songs “Money Makes The World Go Around”, “Maybe This Time”, “Tomorrow Belongs To Me” and “Cabaret”, the show contrasts the bright lights of the carefree club with a story which has a surprisingly dark streak to it.

    The first act is awash with exuberant musical numbers, performed in a classic burlesque style; with the stage glowing in gold and orange lighting, and with an abundance of scantily clad and ridiculously attractive dancers, showing off a plethora of muscular pecs, torsos and biceps. The indulgence and pleasure of the Kit Kat Club then yields in the second act to a darker and more emotional story as the rise of fascism takes hold, impacting on the free-living community of the club.

    Will Young excels in his portrayal of Emcee; making his performance seem effortless and natural and injecting the role with just the right balance of humour, ambiguity and campness to be charismatic and alluring. His performance of the shows musical numbers is excellent, especially in opening the show with “Wilkomen” and in a haunting rendition of “I Don’t Care Much”. Louise Redknapp has her moments as Sally Bowles, and to her credit can belt out the show’s tunes, but her acting ability does not shine through and any stage presence that she may have gets lost amongst the charismatic cast; whereas Charles Hagerty provides solid and tuneful support in the role of Clifford Bradshaw

    The show is well staged, with a beautiful cast, thoughtful and interesting choreography and an impressive lighting design. The set is relatively stripped back giving the whole production a feel which is not too dissimilar to Kander and Ebb’s other musical, Chicago. It is beautiful to look at and Rufus Norris’ direction keeps the show moving along nicely.

    The revival of this production is timely, to say the least. With the recent resurgence in far-right political parties, the treatment of the gay community in Chechnya and with homophobic hate crimes reported to be on the rise, the show maintains a strong message about the impact of passivity and naivety to these issues on the gay community; a message which continues to resonate with audiences many years after the show was first performed.

    Cabaret is currently playing at Leeds Grand Theatre until Saturday 28th October 2017, before continuing on its national tour, calling at Milton Keynes, Manchester, Edinburgh, Bromely, Dublin and Brighton. Visit the tour’s website for details and tickets.

  • THEATRE REVIEW | Of Kith And Kin, Bush Theatre, London

    ★★★ | Of Kith And Kin, Bush Theatre, London

    After a run in Sheffield Theatres’ studio, gay surrogacy themed comedy-drama Of Kith and Kin hits London at The Bush Theatre. Oliver and Daniel are 21st-century gays married with good jobs and a flat. Now it’s time to take the natural next step, start a family with Oliver’s best girl-friend acting as surrogate.

    Chris Thompson’s play is a three-act drama and is mixed in tone and effectiveness. Starting out as a light sitcom with a twist, it morphs into a courtroom drama and ends with a more emotionally intelligent third act. There’s something distinctly dated about the first act in spite of the modern update. There’s all the classic sit-com ingredients: happy couple, monstrous mother-in-law descending, waters about to break and high camp. The difference, of course, being that there are two fathers and one mother. The humour is tired at times and whilst it has wryly amusing moments it’s never uproariously funny. Joanna Bacon does a good job as the brash mum from Woolwich but it still feels limp. Speaking of limp: James Lance has some unfortunate mannerisms. He’s playing a 46-year-old gay man with a mischievous sense of camp but to me, he didn’t quite nail this and it felt like an unfortunate and unintentional misfire. His swishy hips and flapping wrists didn’t convince me and it felt like a straight man’s imperfect attempt at portraying a slightly effeminate gay man which was grating rather than being entirely offensive.

    Act two moves on to the courtroom and again misses the mark. The key ingredient to a courtroom drama is a sense of tension but this felt slack in spite of strong performances from Donna Berlin as an improbably wisecracking judge. Finally, the third act is a more moving piece of drama and the play feels like it finds its feet but still, there’s a lot of holes and moments where the characters’ motivations feel unconvincing.

    On the positive side: James Lance is a nuanced performer (in spite of his poorly pitched 1970s style interpretation of a gay man’s mannerisms). Equally strong in supporting his work are Joshua Silver and Chetna Pandya. There’s also an interesting and well-thought set of themes to the play. Thompson looks at intergenerational differences in the expectations of his character. Oliver at 46, was kicked out of home for being gay and has difficult family relationships, never expecting that monogamy, marriage and children would be on the horizon. Conversely, Daniel who is over a decade younger has every expectation that these things are part of his agenda and in spite of all this progress, Priya’s teenage son doesn’t seem to be having an easy time of ‘having it all’. The confrontations of the final act are genuinely moving and raise interesting questions.

    It’s good to see a thought-provoking drama with some strong performances and emotive scenes. Whilst not excellent it has merits and is worth a look at the refurbished and plush Bush Theatre.

    Of Kith and Kin plays at the Bush Theatre until 25th November 2017

  • THEATRE REVIEW | Albion, Almeida Theatre, London

    ★★★★★ |  Albion, Almeida Theatre

    Mike Bartlett is riding on a high at the moment after the success of the second season of woman-scorned drama ‘Dr Foster’. As well as the much acclaimed TV drama he’s also a versatile and witty playwright with a string of theatre hits including the stellar “King Charles II” (what Prince Charlie did next), “Game” (the privileged classes shoot chavs for fun) and the epic “Earthquakes in London” (I think you can work that one out for yourself).

    His new play Albion is a sprawling three-hour epic concerning a successful businesswoman who uproots and plonks herself and her family down in a rural idyll with a dream of restoring an historic garden. Audrey is a bit of an uber bitch on one level. Suffering from profound grief following the death of her son in armed combat, she’s prickly and caustic, riding roughshod over her wet second husband and her disaffected daughter. Not to mention her guilt ridden middle class angst about the help, her strained relationship with her lesbian novelist best friend as well as her less than sympathetic views towards the local villagers who soon come to despise her. She’s also a strangely sympathetic character and is painfully real. It’s a tight script with echoes of Chekov (think disaffected people knowingly lurching towards disaster). Watching this feels a bit like settling down with a long but enthralling novel. It’s more than just a story. There’s a heavy layer of allegory and Bartlett turns his razor sharp gaze on to the people of England and their conflicted feelings towards their country.

    It’s a cracking play with multiple layers and is both thought provoking and emotionally involving without being preachy or patronising. The cast are universally strong, none more so than the fantastic Victoria Hamilton who plays Audrey. She’s been all over the TV of late as the put upon neighbour in Doctor Foster, The Queen Mum in Netfilx’s The Crown and the double crossing spy in the BBC2’s The Game. She’s magnetic and more than strong enough to carry this strong central role of a difficult but ultimately likeable woman.

    The stage set is absorbing and convincing. A huge tree dominates a long garden which the audience sit around in a horseshoe shape and it’s hard not to be taken in and feel like you’re out in an English country garden watching the human wild life fight it out.

    This is a rare treat. Go and see it while you can.

    Albion plays at the Almeida Theatre  24th of November 2017

  • THEATRE REVIEW | Venus In Fur, Theatre Royal Haymarket

    ★★★ | Venus In Fur, Theatre Royal Haymarket

    THEATRE REVIEW | Venus In Fur, Theatre Royal Haymarket

    A playwright/director bemoans the lack of female acting talent after a long day auditioning for the female lead in his new play. In walks Vanda, a ditzy and frenetic actress who’s turned up late but is determined that she’s going to audition for the part whether he wants her to or not.

    David Ives 2010 play is a twisting sexual and gender power play and a play within a play. The piece that Vonda is auditioning for is based around the 1870 novella of almost the same name (add an ‘s’ to the ‘fur’) by Leopold Von Sacher-Masoch. The clue is in the name: masochism was named after Sacher-Masoch and his desire to serve and be punished. The two characters read from the play and the roles they play both in reality and fantasy are in a state of constant flux. Thomas is a man who once stated that working in theatre was a great way to get laid but Vanda is more than prepared to take him on.

    It’s a slight play in some ways and is uneven at times with occasional absurd moments Whilst it has timely themes with the current Weinstein scandal, it’s not exactly searing. That doesn’t really matter here, though. It’s an OK play and is an entertaining 90 minutes but there’s an odd phenomena going on. The actress is far greater than the play. Nathalie Dormer (Margaery Tyrell in Game of Thrones) is totally hypnotising. Her co-star, David Oakes (currently on TV in Victoria), is more than adequate and is also easy on the eye but whatever your persuasion, I suspect you’re eyes will be drawn to every move, intonation and expression from the magnificent Nathalie Dormer. It’s sometimes hard to concentrate on anything but her central performance.

    Ignore the flimsiness of the play, although if S and M is your thing or you’ve ever contemplated this as a pastime then all the better. The main pleasure for most is the chance to watch such a virtuoso performance. Well worth seeing.

    Venue In Fur plays at the Theatre Royal Haymarket until 9th December 2018

  • THEATRE REVIEW | Hair, The Vaults, London

    ★★★ | Hair The Musical, The Vaults

    Hair, the original naked musical, is celebrating its 50th anniversary in a new production at The Vaults in London. Is the message that it sent in the hippie lovin’ 60s still relevant today? You betcha.

    When Hair was originally produced off-Broadway in New York City in 1967, its message of anti-establishment and free love, anti-war, and its display of full frontal nudity shocked audiences back then, leading to more publicity and packed houses. Now that we have Donald Trump in the most powerful office in the world, and with the UK ready to break off from the EU, and not to mention the political and socioeconomic changes happening around the world, Hair’s message is perhaps more relevant than ever before. But is it actually a good show?

    In the tiny, cosy and very hot theatre that is The Vaults under Waterloo station, 14 actors playing hippies sing and dance and sway their young lithe bodies all over the dirt floor that is the stage, and for one brief moment at the very end of the first half, they all get naked. And before and after in the second half, we are sung and spoken to by these youngsters as they tell their anti-war tales and burn their draft cards and the unlucky ones who are sent to fight in a war but come back with limbs, and emotions, gone.

    Yet all the favourite songs are here, songs that include ‘Aquarius,’ ‘Good Morning Starshine,’ and ‘Let the Sunshine In,’ songs that make this show famous, more so than the script. So if you’ve never actually seen Hair performed, go and see it now as this might be your last opportunity, but don’t expect to be wowed and awed in this production, though it might help if you take some stimulants to get you through the evening as this show is as mellow as can be.

    Hair plays at the Vaults Theatre, London until 3rd December 2017

  • THEATRE REVIEW | The Kite Runner, Sheffield Theatres

    ★★★ | The Kite Runner 

    THEATRE REVIEW | The Kite Runner, Sheffield Theatres

    Set against the historical backdrop of social and political change in Afghanistan, The Kite Runner tells the story of Amir and Hassan, who are best friends despite their difference in religion, class and social standing. The pair are inseparable, until Amir stands by as a shocking event tears apart their world and their friendship. But as the years pass, Amir has the opportunity to redeem himself and redress his guilt in a way which he would have never imagined possible.

    The play is based on the best-selling book by Khaled Hosseini and is a heart-breaking tale of friendship, betrayal, divided loyalties, family acceptance and social pressure. It also touches on themes of culture, religion, terrorism and of the life experienced by a country faced with invasion, dictatorship and war. Whilst the central the themes are numerous and remain relevant, the staging is stripped back and straightforward; and the whole show is presented with no fuss or spectacle, which allows the writing, script and narrative to shine through. The play’s strength lies in its flowing language which reflects the source material and, as you listen to the actors, you feel like you are reading a book. The addition of traditional Afghan instruments providing an atmospheric, minimalist soundtrack which enhances the uncluttered approach and provides a real atmosphere to the proceedings.

    In terms of performances, David Ahmad was broadly engaging in his performance as the narrator and protagonist, Amir, although never fully convinced in terms of his emotions; whilst Jo Ben Ayed provided a subtle turn as the meek and withdrawn Hassan. Standing out from the ensemble cast was Emilio Doorgasingh as Baba, Amir’s father, with a commanding and intimidating stage presence befitting of his character.

    It is an ambitious play which encompasses many themes and many key aspects of the character’s lives over a number of years, meaning that there is a lot to get through, and the second act does feel slightly crammed and borders on being a little overlong towards the end; but the story overall remains absorbing and holds the attention.

    The Kite Runner is a visually restrained production which provides for a thought-provoking, relevant and touching story which carries with it a lot of emotion.

    The Kite Runner is at Sheffield Theatres until 21st October 2017 before continuing on its national tour.

  • THEATRE REVIEW | Young Frankenstein, Garrick Theatre, London

    ★★★★★ | Young Frankenstein

    THEATRE REVIEW | Young Frankenstein, Garrick Theatre, London

    The classic comedy Young Frankenstein has finally made it’s way to the West End, and it’s just as funny, or perhaps even funnier, than the hit 1974 film.

    Mel Brooks, still kicking around at the age of 91, directed and co-wrote (along with Gene Wilder) the Oscar-nominated film. Brooks wrote the music and lyrics of the stage version which had it’s Broadway debut in 2007 to rave reviews and several Tony award nominations. Its arrival in the West End is welcome because there is a lack of stomach-splitting comedies on offer, and Young Frankenstein is not only stomach splitting – it’s laugh out very loud funny!

    Scientist Frederick Frankenstein (Hadley Fraser), who insists his last name is pronounced Frankensteen in order to disassociate himself from his grandfather – the mad scientist Dr Victor von Frankenstein, and which becomes a running joke throughout the show, learns that he has inherited a castle in the town of Transylvania Heights from his grandfather. He decides to check it out and boards the Queen Mary Shelley ship (Shelley is the original author of the book of Frankenstein), says goodbye to his fiancé Elizabeth (Dianne Pilkington) who sings the camp song ‘Please Don’t Touch Me’ in reference to her devotion to Frederick. Once Frederick arrives in the town, he is greeted by Igor (Ross Noble), a man with a hump on his back which keeps on changing sides. Frederick also hires an assistant to help him at the castle, and this assistant is the blond, beautiful, buxomy and German Inga (a wonderful Summer Strallen – who practically steals the show with her looks, and dumbwitnedness). They ride up to the castle on a wagon to the tune of ‘Roll in the Hay (because they are literally on hay and during the bumpy ride Inga practically exposes almost every part of her body – it’s too funny to be seen! Once in the castle (the production designer cleverly takes up deeper and deeper into the castle through the use of darkness and doors that continually reveals amazing new sets). There we meet the fabulous housekeeper Frau Blücher (Lesley Joseph) who has an absolute scene-stealing number with the song ‘He was my Boyfriend’ in reference to Victor Frankenstein. While in the castle, Frederick and Inga find a secret entrance to the laboratory, which inspires Frederick to create a monster in memory of his grandfather. Well, Igor gets a corpse for the experiment, but it’s not exactly what Frederick had in mind, nonetheless, a monster is born, but knocking on the door are the town’s villagers, led by the one-armed and one-legged Inspector Kemp (Patrick Clancy) (it literally cost him an arm and a leg! Tha dump!). He and the townspeople know that something is up in the castle, that many years ago bad things happened there, and they want to find out exactly what is going on in there. And the rest, as they say, is history.

    Young Frankenstein continues with the laughs, and laughs, and laughs, culminating in the rib breaking song ‘Puttin on the Ritz’ sung by The Monster, Frederick, Inga, Igor and company. This show has got to be the funniest show I’ve seen in the West End in a long time (funnier, I think, than ‘The Book of Mormon’). And all the cast are excellent, but Strallen and Joseph are lucky enough to be given show-stopping songs to sing, and Noble as Igor is just too good to be true, and let’s not leave out Shuler Hensley who plays, to great effect, The Monster. This show is just about perfect for a comedy, and Director and choreographer Susan Stroman has created a masterpiece, while kudos goes to set designer Beowulf Boritt. It’s a shame that this show is at the small Garrick Theatre, it needs a bigger theatre just so that more people are able to see it and enjoy it, but nonetheless it’s one you definitely don’t want to miss!

     

    Young Frankenstein plays at the Garrick Theatre, book tickets now