THEGAYUK

Category: Theatre

  • THEATRE REVIEW | Tommy The Musical, Birmingham Rep

    ★★★★ thrilling and emotional

    One of the most influential UK rock and roll bands, The Who were formed in 1964 in Shepherd’s Bush, London. In 1969 The Who created a unique concept album called Tommy, and it quickly became a cultural fete. In 1975, Ken Russell adapted the album into one of the best and biggest films with an all-star cast starring Tina Turner, Elton John, Eric Clapton, Jack Nicholson, and more.

    New Wolsey Theatre and Ramps on the Moon collaborated to bring to life Tommy The Musical to the main stage as a daring musical. The Who’s Tommy musical was a sad, gritty and powerful tale about a boy who is ‘deaf, blind and dumb’ and at the mercy of Uncle Ernie (Garry Robson) who ‘fiddled about’ with him at night; Cousin Kevin (Lukus Alexander) who bullied and taunted Tommy, and a thug of a stepdad Frank (Alim Jayda), relentlessly trying to ‘solve’ Tommy’s disabilities.

    Tommy The Musical, directed by Kerry Michael, was extra special for it allowed the opportunity for actors who are D/deaf, disabled and non-disabled to work together to produce an eerie and fantastic production with all-audience accessibility. Through embedded audio description, creative captioning and integrated British Sign Language, everyone could engage and be a part of the musical.

    Tommy (William Grint) was phenomenal. William really brought to life the chronicles of Tommy’s life and was sublime in the delivery. What Tommy went through, was hard and gruelling, and William did an amazing job showcasing the outcomes of so much abuse. His two voices (Julian Capolei and Matthew Jacobs-Morgan) were perfect for Tommy’s voice, in particular, Julian’s voice, which was so powerful and pleasing to the ear. Tommy’s mother, Nora (Donna Mullings) was also formidable, really conveying emotion without speaking a lot, and when she did, it was potent and emotionally charged. The best voice in the production was the actor playing Nora’s voice (Shekinah McFarlane).

    The outstanding performer of The Who’s Tommy was Acid Queen (Peter Straker). In the film, Acid Queen is played Tina Turner, and for this production, it was a man dressed in drag, which was a very progressive touch to the production. Peter’s voice was stunning and his overall performance was commanding – this was the highlight for me.

    This is an excellent idea, and we need to see more theatre productions reflecting stories through actors who are physically affected by the context of the plays.

     

  • THEATRE REVIEW | Kings Cross [Remix], Camden People’s Theatre, London

    ★★★★ | Kings Cross [Remix], Camden People’s Theatre, London

    Take a journey to 1980’s London, specifically the King’s Cross area, through the storytelling of Tom Marshman, in the new show Kings Cross [Remix]. The one-man show, at the Camden People’s Theatre, is a tour de force performance by Marshman, too young to remember the stories he’s telling, yet he tells them so vividly, with such authority and believability that he makes us actually believe he was there.

    Through the use of video and audio tape recordings of the people who were actually around during those times, Marshman weaves together these stories in a 60-minute show to great effect. He talks about the long gone disco Bagely’s nightclub, the denizens of King Cross including the hookers and the club kids, a unique story about the late and great Leigh Bowery, and grainy video footage of the once popular gay bar and club The Bell (this footage can also be found on Youtube). But Marshman also transports us to this decade when lots of our fellow friends were dying of AIDS, and one audio clip of a man who is a patient representative at a local clinic remembers the days when gay men were diagnosed with GRID (Gay Related Immune Deficiency) and were in their last days as there no hope for them. Marshman also chillingly brings up the arrival of patient zero – the man who introduced HIV into England. This and more is all told with the songs of Donna Summers’ “Last Dance” and lots of other disco classics as the soundtrack, and footage of Jimmy Somerville in his early days who can now be found from time to time drinking at his local bar Central Station. Marshman’s show celebrates a time when the scene in Kings Cross was more fun but also a bit dangerous and not posh as it is now. I

    It’s a great show and Marshman does a very good job in telling these stories.

     

    Kings Cross (Remix) plays at Camden’s People’s Theatre until 26th May.

  • THEATRE REVIEW | Room, Theatre Royal Stratford East, London

    ★★★ | Room, Theatre Royal Stratford East, London

    Theatre review of Room at Theatre Royal Stratford East

    The story of a mother and son held captive in a room was so beautifully and emotionally told in last year’s film Room. There is now a stage adaptation of that Oscar-winning film playing at Theatre Royal Stratford East.

    Emma Donoghue, who wrote the book in which the film was based on, also wrote the stage adaptation, and it’s an interesting one. The stage show mimics the plot of the movie, however, more elements are added to it. First off, there’s a narrator who speaks out loud the thoughts of 5-year old Jake (ably played by Harrison Wilding on the night I saw it); it’s Jack’s perspective this show is told from (as in the book); and surprisingly the show is also told via songs – effective at times but a bit inappropriate at other times.

    Room, in case you missed the film, is about a woman and her son who are being held hostage by a man simply known as Old Nick (Liam McKenna). The mother, Ma (excellently played by Witney White), has been imprisoned by him for seven years. Ma and Jack are unable to leave the room, locked in by the man who is Jack’s father who takes his liberties with Ma whenever he wants. And Ma has to be ever so grateful when he brings her and Jack the staples and necessities they need to live on. But it’s Jack who has adapted to living in the room – it’s all he knows. He also knows to hide in the wardrobe when Old Nick comes to visit – it’s these time that the show takes, to great effect, a dark and eerie tone. It’s complemented by the set – a room in the middle of the stage – that cleverly swings around when Nick is ‘visiting’ – so we see Jack’s frightened viewpoint from the wardrobe – which is also his bed – it’s expertly thought out. Jack’s thoughts come via the narration by Fela Lufadeju – Big Jack – who is Little Jacks’ voice and his conscience. It’s narration that at times is cute and funny and at times very serious, but it also does get in the way of the very dramatic story unfolding on stage.

    Without giving too much away, and as mentioned above, the rest of story plays out in similar parallel with the movie, with the second half taking place in a home (as opposed to a room), where Ma and Jack have to adjust to life outside the room. It’s with the help of Ma’s mother (a good performance by Lucy Tregar) that shifts the second half into another gear, a bit slower and less intense than the first, but dramatic nonetheless.

    Room has elements that work and don’t work. Room’s premise is very theatrical, with the whole story being told inside four walls, which this production excellently shows. In the first room there are the items that Jack has named (plant, TV, etc..), then there’s a hospital room, and then on to Grandma’s house, it’s a set superbly designed by Lily Arnold. And there is also excellent use of lighting and visuals on the walls that are characters and images seen through the eyes of a child. The cast does a very good job and it’s a helluva emotional show to be performing seven times a week (three young actors take turns playing the role of Jack). But the use of Big Jack is a device that doesn’t quite work, and some of the songs (music by Kathryn Joseph) in the second half just don’t quite work with the dark theme of the show. Nonetheless, if you loved the movie and read the book, then this is must-see theatre, and only it’s playing until June 3rd.

    Room plays at Royal Theatre Stratford East until the 3rd June 2017. Other dates include:

    Dundee Rep
    13 June – 17 June 2017
    01382 223530
    www.dundeerep.co.uk

    Abbey Theatre, Dublin
    24 June – 22 July 2017
    +353 (0) 1 87 87 222
    www.abbeytheatre.ie

     

  • THEATRE REVIEW | Salomé, National Theatre, London

    THEATRE REVIEW | Salomé, National Theatre, London

    ★★★★| Salomé, National Theatre, London

    Johan Persson

    It was always going to be hard to produce a version of Salomé on the stage. It’s a story that’s mythical, biblical, violent, and perhaps a bit confusing. A new version of the show is now playing at The National Theatre, and it’s executed beautifully.

    Staged by Director Yael Farber, this version of Salomé, at a short 110 minutes with no interval, will mesmerize you but may also confuse you as the story is told through song and dance and imagery and hebrew, and lots of sand and water. But it’s the story of Salomé who was born the daughter of Herodia who was a princess of the Herodian Dynasty of Judea during the time of the Roman Empire. Salomé, as you may or may not know, is infamous for receiving the head of John the Baptist. Played in this show by Isabella Nefar, Salome is not very respected, stands naked on the stage, has sand thrown all over her, but it’s at the end that she’s redeemed and resurrected, but the road to get there is an intense one.

    A character by the name of Nameless (Olwen Fouéré) tells the story of Salomé, as Salomé the character doesn’t speak, and takes place in Roman occupied Judea. She’s yelled at and ridiculed by her stepfather Herod (Paul Chahidi), but finds something, perhaps a kindred spirit, in Iokanaan – John the Baptist (Ramzi Choukair).

    But it’s not just the story, it’s the design of the show, by Susan Hilferty, that takes us on a journey, or perhaps better worded – on a ride – a ride that’s both luminous and heavenly, with lighting that adds mystery and darkness. It’s also the haunting vocals and chanting of Israeli folk musician Yasmin Levy and Syrian soprano Lubana Al Quntar that will take your breathe away. Their vocals that accompany the story told on stage is the most memorable part of the show – their voices are out of this world, and listening to them is well worth the price of the ticket.

    Salomé will be broadcast by NT Live on Thursday 22 June 2017. For further details visit NTLive.com

    Below is a list of connected talks and events for Salomé:
    Acts of Violence and Salomé, Monday 12 June, Cottesloe Room, 2-5pm
    Mothers/Daughters/Sisters, Wednesday 21 June, Cottesloe Room, 6-7pm
    Yaël Farber, Friday 14 July, Olivier Theatre, 6-6.45pm

    To buy tickets, please go here:
    https://www.nationaltheatre.org.uk

  • REVIEW | Liza Sings Streisand

    REVIEW | Liza Sings Streisand

    ★★★★★ | Liza Sings Streisand

    It’s a lot of gay men’s wet dream to see the words “Liza Sings Streisand’. Before you get too excited though, n this instance it is Liza with a Zee singing the back catalogue of Barbra but it’s a thoroughly British Liza, Ms Pulman who’s a member of Fascinating Aida. Don’t let the fact it’s not Minnelli disappoint too much though.

    This Liza has got style oozing out of her pores and a belting set of lungs that do justice to Barbra in a lovingly curated cabaret show.

    This isn’t ‘Stars in Your Eyes’. She doesn’t come out with crimped hair, a false nose and a Brooklyn accent and to be fair, why would she? We know that Barbra is busy in her underground shopping mall viewing her antique collection so a loving tribute is better than an imitation. Liza Pulman is very English and beautifully poised. Dressed to kill in stylish gowns and backed by a six piece band, she starts out with a few brief reminisces about Streisand, recapping some of her career highs. She’s comes across as warm, knowledgeable but definitely more Home Counties than New York.

    The primary attraction though is her musical output. She captures Barbra’s style perfectly and it’s no surprise, given her voice, when Liza talks about her own past and operatic training. She’s clearly a Barbra mega-fan and has studied Streisand’s style and rhythmic anomalies. She’s also taken care in choosing a wide range of songs with a few Broadway numbers, as well a sweep through the decades. There are also some musical re-arrangements done in full Barbra style that actually work really well.

    Liza is touring the UK through till November with return visits to The Crazy Coqs at Zedel in Piccadilly in May and June. She’s a treat for jaded eardrums and a great night out for any Streisand fans.

     

    Find out more http://www.lizapulman.com/liza-sings-streisand/

  • THEATRE REVIEW | The Curious Incident Of The Dog In The Night-Time, UK Tour

    ★★★| The Curious Incident Of The Dog In The Night-Time, UK Tour

    Christopher Boone, a 15 year old boy, discovers that his neighbour’s dog, Wellington, has been killed by someone (the poor dog having been stabbed with a garden fork), and sets off to find out who the culprit is. But Christopher has Asperger’s syndrome, which makes his perception and functioning very different to other boys his age and as the truth behind Wellington’s death starts to be revealed, it leads Christopher to embark on a remarkable adventure.

    The show is based on the hugely successful book by Mark Haddon and has been a West End and Broadway hit. Utilising a virtually empty stage, the presentation of the show was intriguing, using screens on the back and sides of the stage, almost framing the show in a cube, reflective of Christopher’s constraints in his functioning. Lights flicker like the firing of neurons in his brain, and black and white projections are used to show both his thought process and to set the scene. The show, like the book, is written from Christopher’s point of view and the presentation effectively places the audience members squarely into the centre of his mind and thoughts. The simplicity of the set is reflective of the way in which Christopher perceives the world and worked very well. There were pieces of carefully choreographed movement throughout, and the scene where Christopher arrives in London and is overwhelmed by the overstimulation of his environment is very well done. In this show, less certainly is more, and the monochrome set nicely mirrored Christopher’s rather binary thinking.

    But placing the style and presentation to one side, the most impressive aspect of the show was the central performance of Scott Reid. Reid’s portrayal of Christopher Boone was highly accomplished – mixing the complexities of the characters personality, his physical traits and a childlike innocence which combined to provide a rounded and believable performance

    The show, and in particular, the first act, is very well written, with a script which imports large chunks of text from the book to provide a faithful adaptation of the source material. Despite being bleak at times, the show was filled with gentle humour; and created a world with a myriad of characters that come in and out of Christopher’s life which nestle alongside the well-crafted moments of dramatic tension and emotionally powerful scenes.

    The show has won a slew of awards, including 7 Olivier Awards and 5 Tony Awards, and it is easy to see why. There is a lot of depth to the play, exploring the adult world of interpersonal relationships through a simplistic and innocent perspective.

    The Curious Incident of the Dog in the Night-time is currently playing at Sheffield Lyceum Theatre until Saturday 20th May 2017 (www.sheffieldtheatres.co.uk) before continuing on its national tour until 10th July 2017. For further details, visit http://www.curiousonstage.com/tour/

  • THEATRE REVIEW | When Harry Met Barry, Above the Stag Theatre, London

    ★★★| When Harry Met Barry, Above the Stag Theatre, London

    It’s not When Harry met Sally but When Harry Met Barry at the Above the Stag Theatre in Vauxhall.

    Unfortunately there is no orgasm scene in sight, just a few catchy tunes and a few laughs in a show that is cute and lively and a fun night out.

    Harry (Brandon Gale) and Barry (Sam Peggs) had a ‘thing’ seven years ago, but now TV chef Harry is dating fashion designer Spencer (Austin Garrett) while junior lawyer Barry has hooked up with the quirky yet adorable Alice (Maddy Banks). Spencer and Alice are serious about their relationships with Barry and Harry, respectively, even to go so far as to discuss wedding plans! Gads! But when Harry and Barry accidentally bump into each other, their love and desire for each other is rekindled, enough so that it causes a whole heep of heartache and a breakdown in their current relationships. Set to trendy and memorable musical numbers – very modern and hummable with ‘Why Ask for the Moon’ one of the better songs – When Harry met Barry is a true musical romance with a love triangle that will set your heart aflutter. All adequately sung and acted by the very young cast, with Banks doing a particularly good job in her role as the jilted young woman. It’s got cute music, a goodlooking and energetic cast, and one all too brief scene of two of the sexy actors in their underwear. It looks like Above the Stag theatre has another hit on their hands.

  • THEATRE REVIEW | Angels in America, National Theatre, London

    ★★★★★| Angels in America, National Theatre, London

    Angels In America 2017 review

    It’s seven and a half hours long, and it’s shown in two parts, but Angels in America: A Gay Fantasia on National Themes is well worth a watch.

    Calling it epic does not even describe the show. Now playing at the National Theatre, it is monumental, larger than life, phenomenal, engrossing, but it is in no way too long or too boring – sure it may be a bit complex, but it’s first class theatre. And both parts of the production – Millennium Approaches and Perestroika – really do need to be seen together. And the cast in this current production is top notch – actors you might not be able to see in such a production again in your lifetime. But more on the cast later.

    Unfortunately, Angels in America is totally sold out – it’s been sold out since tickets went on sale, and calling it the hottest ticket in town is an understatement (the upcoming Hamilton may come close, but Angels is in a limited run, only up until August 19th). So If I were you, I would do anything to get a ticket. But more on that later.

    Angels in America has won almost every theatre award up for grabs. Written in 1993 by Tony Kushner, it has won the Tony and Pulitzer Prize awards, and both parts were performed in London in the early 90s. What is it about? Well, first and foremost it’s about AIDS in New York in the 1980s – that horrible decade when friends were dying right and left, disappearing only never to return. There was no cure, and when people started to see purple lesions on their skin, they knew that it was all over. But Angels in America is also about so much more. It delves deep into relationships that we have with each other and especially with ourselves, it deals with power, greed, lust, lies, betrayal as well as fantasy, ecstasy, religion and last but not least life (notice that I did not mention death). The show is complex only in that it goes off into the deep end at times for the necessity of one of the characters. Angels is also still very timely, as it touches on immigration and discrimination based on heritage – themes we are seeing first hand in the much-changed political climate that we now live in.

    Andrew Garfield is Prior Walter – and he’s got AIDS. He’s good looking yet very thin and has the tell-tale signs of the disease (Kaposi’s Sarcoma). James McArdle is Louis Ironson, his boyfriend who’s having a hard time dealing with Prior’s illness. Then there’s Joe Pitt (Russell Tovey), who is married to Harper Pitt (Denise Gough). The Pitt’s are Mormons from Seattle and live in Brooklyn. Harper Pitt has problems, she’s agoraphobic and has hallucinations. Joe, a clerk in a law office, is deeply closeted.

    Then there is Roy Cohn (Nathan Lane), a notorious ruthless lawyer who happens to be gay but doesn’t quite believe it himself and definitely doesn’t want anyone to know this. So for over seven hours, we go on a ride with these characters as Angels in American puts them, and us, through a rollercoaster of emotion and drama. Louis is unable to care for Prior and walks out on him at the moment that Prior needs him most. Louis strikes up more than a casual friendship with Joe as they both work at the same law firm. Meanwhile, Joe, who becomes more than a bit friendly with Cohn his mentor, eventually falls in love with Louis. Meanwhile, Prior (and eventually Cohn) are taken care of by nurse Belize (Nathan Stewart-Jarrett). But all’s not right in Prior’s life – he’s seeing angels, angels that are trying to tell him a message, angels that are a response to his illness, yet there’s not much these angels can do for him except only to be by his side (or to fly over him)… they’re helpless just as much as he is. There’s also a crisis in the Pitt home – Joe’s mother sells her house in Utah and goes to Brooklyn to look for her son who has just announced to her that he is gay. And Cohn can’t accept the fact that he’s got AIDS – he informs his doctor that it’s liver cancer that he’s got. And Belize turns out to be the real angel in the show – taking care of the dying, the ones who don’t accept the fact they’ve got AIDS and the ones who are way too young to die of AIDS.

    Angels in American deals with a dark time in gay history – the AIDS plague. Conservative President Ronald Reagan didn’t help matters. He did nothing about the disease, Rock Hudson had just died, and the stigmatisation of the disease pretty much erased all the gains that the homosexual community had achieved in the late 1960s and 1970s. But in this retelling, and for those of us old enough to be around where all this actually happened, it takes us back to the time when there was nothing we could do for our friends dying of the disease but to just hold their hands and watch them die. And Angels in America takes us back to those horrible time. It’s a credit to the story and the production that the performers excel in their roles and take it to the next level. Garfield has a field day playing Prior – he’s in agony because he’s dying and because Louis has left him – and Garfield gives it his all and succeeds enormously. Lane was made to play Cohn – caustic yet not a bit remorseful, even after the ghost of Ethel Rosenburg practically stands over him waiting for him to die. Lane is just simply superb. Tovey – in his biggest stage role yet – doesn’t disappoint. His Joe Pitt is vulnerable yet determined to be who he’s supposed to be, and he accidentally falls in love with Louis yet is still in love with his wife, and Tovey is very believable every second he is on stage. Stewart-Jarrett, practically an unknown, holds his own with the acting heavyweights on the stage. His nurse and friend Belize

    Russell Tovey in Angels In America 2017 review

    It’s a credit to the story and the production that the performers excel in their roles and take it to the next level. Garfield has a field day playing Prior – he’s in agony because he’s dying and because Louis has left him – and Garfield gives it his all and succeeds enormously. Lane was made to play Cohn – caustic yet not a bit remorseful, even after the ghost of Ethel Rosenburg practically stands over him waiting for him to die. Lane is just simply superb. Tovey – in his biggest stage role yet – doesn’t disappoint. His Joe Pitt is vulnerable yet determined to be who he’s supposed to be, and he accidentally falls in love with Louis yet is still in love with his wife, and Tovey is very believable every second he is on stage. Stewart-Jarrett, practically an unknown, holds his own with the acting heavyweights on the stage. His nurse and friend Belize

    Stewart-Jarrett, practically an unknown, holds his own with the acting heavyweights on the stage. His nurse and friend Belize is practically the glue that holds the other characters together – and Stewart-Jarrett does it so sarcastically and beautifully. A star is born. McArdle is adequate – he’s got a lot to do and say and it’s perhaps one of the hardest characters in the show as so much centres around him – and McArdle just about succeeds, but less so Gough as Mrs Pitt who doesn’t quite wow us as the others do. Other notable performers include Susan Brown as Harper Pitt, Joe’s mother, and especially Amanda Lawrence, who plays the Angel, a nurse, a homeless woman, and a Sister, among others, is there nothing this talented performer can’t do?

    Of course, the sets and music are all amazing, and director Marianne Elliott brings it all together in excellent fashion – but it’s all about the acting (and the message) in Angels in America, the message is loud and clear – this show is history in the making and relevant to all of us now, even 25 years after it was written.

    The National Theatre is running a ballot for £20 tickets so I urge you to give it a try. There are two ballots left:

    Ballot no.’s 4 and 5
    Show dates included in the ballot: 11 Jul – 29 Jul and 2 Aug – 19 Aug
    Ballot opens at midday on: 26 May and 30 Jun respectively as per the dates above

    You’ll need to log-in to your National Theatre account or create an account to register for the ballot, you can do so here:
    https://www.nationaltheatre.org.uk/angels/login?destination=node/5066

    Also, Angles in America will be broadcast live to cinemas around the UK and internationally. Part One will be broadcast on 20 July and Part Two will be broadcast on 27 July. For more information and to buy tickets, please go here:
    http://ntlive.nationaltheatre.org.uk

    Photos by AiA Perestroika Production Images (c) Helen Maybanks

  • THEATRE REVIEW | Late Company, Finborough Theatre, London

    ★★★★ | Late Company, Finborough Theatre, London

    Much like the recent Netflix smash hit series “13 Reasons Why”, “Late Company” examines the events surrounding the suicide of a teenager.

    In this case, Michael and Debora, a wealthy politician and artist have invited round for dinner another boy involved in the online bullying campaign which they blame for contributing to their gay son’s death. Accompanied by his parents Tamara and Bill, Curtis is a mess of teenage angst as they face a dinner party with the potential to be a vision of hell. No prizes for guessing that the earnest plan for ‘closure’ that Tamara is hoping will help Curtis to move on isn’t going to be easily attained.

    Young Canadian writer Jordan Tannahill has created a thing of devastatingly tender beauty in this one act play addressing some of the issues around being a teenager or a parent of one in the 21st century, responsibility for our acts and grief. It sounds gloomy and hard going and at points it is but it’s also surprisingly humorous and compelling to watch.

    It’s a tense but brisk 75 minutes and is a play where the audience feels a constant switch in allegiances and perspective. Was Curtis such a monster? Were Michael and Debora really such good parents? Was the bullying all it seemed? What at first glance seems to be a given set of circumstances is more complex, as things so often are in life.

    The play is tightly scripted and well acted with five sterling performances. This is a startlingly relevant play which will is both entertaining, thought-provoking and heartbreaking. Go see it.

     

    Late Company plays at The Finborough Theatre until 20th May 2017

  • THEATRE REVIEW | Pam Ann, Leicester Square Theatre, London

    ★★ | Pam Ann: Touch Trolley Run to Galley 20th Anniversary Tour, London and other UK cities

    Trolley Dolly Pam Ann returns to London with her 20th Anniversary tour – Touch Trolley Run to Galley – but it’s pretty much the same schtick she’s been doing year in and year out.

    Australian Pam Ann (real name Caroline Reid) has been making the rounds as the self-described ‘Queen of the skies’ for the past 20 years all around the world, and in this show she lets us know it. Now playing at the Leicester Square Theatre, the show begins with a video montage of her previous shows and the famous people she’s hung out with. Yes, from the minute the video starts we are reminded that the show is all about her. She lets us know that she’s an iconic international celebrity air hostess who has developed cult status over the years with her fans (most of whom are gay and who love her bitchiness and candor). And then when she’s out on stage she picks four audience members and invites them onto the stage to create a new Spice Girls band (who are also celebrating their 20th anniversary). On the night I saw the show, she conveniently picked four gay men from the audience (after all, gay men are so much more likely to ‘get her’) to ‘become’ the Spice Girls. Picking on audience members is a time and tested old tradition used by comedians when they don’t have enough material to fill a show (‘what’s your name?’, ‘where are you from?’ is the usual repertoire), and it’s a bit lazy to do so at the beginning of a show! Anyways, Pam Ann was very good with them; she was quick with one-liners and put-downs, and the men took it all in jest. It’s funny, but I wanted more jokes about the current state of the airline industry and the in-the-news bad treatment of passengers (she did open up with a joke about the United Airlines fiasco but it was a bit too short and too quick).

    The second half of the show had her bring out a trolley filled with, of course, alcohol, as well as a bevvy of dolls that represented airline stewardesses from all over the world (an Australian transgender doll was quite funny). But we’ve seen this from her many many times. Pam Ann tells us why she loves BA, and her alter ego Lilly ‘comes out’ all too briefly, and of course, she makes fun of Ryanair (who wouldn’t?). But as the show goes, it’s ‘we’ve seen and heard it all before’, and two hours in she leaves the stage and tells the audience to expect something great – but when she comes back out all she presents to us is a glittering outfit where she then proceeded to take selfies with the audience members whom she chose to be the Spice Girls, and then thud, the show ended, with not a laugh in sight. Pam Ann: Touch Trolley Run to Galley 20th Anniversary tour is 2 hours and 20 minutes long, but this consisted of a 20 minute interval and 20 minutes of video footage, including two videos of her interspersed into scenes from the Great British Bake-off – it would’ve been a bit funnier if she would’ve done this live, but that would’ve been perhaps too much effort?

    Pam Ann plays at Leicester Square Theatre until 27th May 2017

     

    For more information about Pam Ann and the rest of her UK tour, please visit:
    pamann.com / @pamannairbitch / facebook.com/pamannairhostess

  • Ten Musicals That Failed In The UK

    Musicals are an expensive business and when they go right it can be a cash cow for the producers, theatres and the entire West End, but get it wrong and you might never work in show business again.

    Musicals that failed in the West End

    Here are some of the musicals that couldn’t cut the mustard in the West End or on their UK tour. Some of them should have been successful, and some of them should never have left the drawing board.

    Viva Forever

    I mean this musical had everything going for it, apart from the sales. Backed by the Spice Girls, written by Jennifer Saunders; sounded as though it should have been a shoo-in, but just six months after it opened it closed its doors for the last time. So dire was the show that even our reviewer couldn’t bring himself to love it. Apparently, the show’s producer Judy Craymer and her backers lost millions on the project.

    Urinetown

    Now Urinetown deserved to be more successful, tongue in cheek humour, fantastic songwriting, worldly issues discussed, brilliantly performed but a name that nobody could get into…

    Happy Days The Musical

    Mondays, Tuesdays happy days, Wednesday, closed. Despite massive profile building on a Channel 4 show, a member of Buck Fizz and backed by the Fonz himself, Happy Days couldn’t get the bums on seats in its UK Tour.

    I Can’t Sing

    It was more like I Can’t Sell Tickets, we could have told you that, in fact, I think we did. This was the worst idea for a musical, like ever. It ran for just two months and costing producers allegedly millions of pounds. First of all knocking Geri Halliwell’s singing is the death knell to any project. That Spice has fingers in all sorts of pies. Geri-Spice-hands… The world has had enough of X Factor; dwindling viewing figures tell you that – it’s only a number 1 show because there is nothing else to watch come those cold dark nights (in August).

    Wag! The Musical.

    Oh dear god, I mean where do you go with this? People actually hate wags, so making a musical about them is almost like writing a musical about Josie Cunningham and Katie Hopkins. No wait that actually might work.

    Gone With the Wind.

    After just 79 performances GWTW closed, so bad was it that many reviewers couldn’t give a proper critique of the show, as they had to leave in the second half. Described as long, half-hearted and with forgettable music no wonder nobody wanted to go and see it.

    Stephen Ward

    The musical closed after just four months. Despite the backing and creative genius of Andrew Lloyd Webber and a reported £2.5 million pumped into it, people just couldn’t get into or care about the Profumo Affair. Speaking to the Telegraph ALW said, “I haven’t had a hit in 20 years, I’ve written six musicals in that time.” Has he lost his touch as…

    The Beautiful Game

    Lasted just 11 months. I mean a musical about Football. The first rule of musicals, know your audience.

    From Here To Eternity

    Was anything but. Lasting just five months – despite rave reviews and Darius as the lead, people weren’t interested in watching a musical about Pearl Harbour.

    Lord Of The Rings

    Lasted 12 months, but at £25m it was one of the most, if not most expensive musicals to be mounted. Described by the Guardian as the most costly ‘musical mistake in West End History’. Wizard….