THEGAYUK

Category: Theatre

  • THEATRE REVIEW | To Sir, With Love, The Birmingham Rep

    ★★★★ – What theatre is all about!

    Photo Credit – Graeme Braidwood

    Adapted by Ayub Khan-din for Birmingham, To Sir, With Love had its natural charm and appeal to the audience of The Rep. The local, ‘banterous’ fun was well appreciated and received for many laughs were heard in the auditorium. What also impressed me, and I found highly commendable, was the extent to which The Birmingham Rep invested their efforts into nurturing young, new and home-grown talent via The Young Rep Company.

    Every young person shone and were utterly convincing in the roles they played, conveying a variety of emotions with much maturity. Charlie Mills who played Denham, stood out for his aggressive demeanour at the start, and the 360 degree turn at the end. His transition from delinquent to amicable was very warming to witness. Alice McGowan portraying Pamela performed with delicateness but fierceness too and, though her part was smaller, Alice really invested her time to move elegantly and speak with natural flair in-line with the character’s traits. Eden Peppercorn, who played Monica, did really well in contributing to the chaos and challenge of Mr Braithwaite’s initial classes. Her subtle change of heart was well developed and endearing too. Phillip Morris, local actor who trained at Birmingham School of Acting, did a sterling job, to the point of gripping the audience all the way through while fully harnessing the moments and challenges in which his character found himself in. Phillip Morris was a star of the play, and I believe this opportunity granted by The Rep will no doubt further his career in the theatre industry.

    I really loved the thorny fun had between the characters of Mr Weston and Clinty, played by Matt Crosby and Polly Lister respectively. Polly really embodied the locality of the adaption through her West Midlands accent, and she was much joyful to watch, with exquisite comedic timing. Matt was a treat to watch too, and he must have channelled a teacher he knew, because his portrayal of Mr West really made me, and I’m sure others, reminisce, not very fondly, teachers from our pasts; or for those in the profession, education staff would probably relate too.

    Plays are instrumental to teach people their own history. To Sir, With Love did just that. It gave us flavours of the past mixed with contemporary seasoning. It was a feast to be lapped up! Using young talent really made the production special and very memorable, and I hope to see the young actors on stage again soon, as they so deserve it!

    Running until 6 May.

  • THEATRE REVIEW | Shirley Valentine – National Tour

    THEATRE REVIEW | Shirley Valentine – National Tour

    ★★★★ | Shirley Valentine – National Tour

    Shirley Bradshaw is a bored housewife from Liverpool, who has brought up her children, is trapped in a loveless marriage; and who spends her days talking to the kitchen wall and dreaming about Shirley Valentine, the girl she used to be before she was married. So when her best friend offers her the chance to head to Greece for a holiday, Shirley reluctantly takes it, and over the course of her holiday, she rediscovers her zest for life, falls in love with the idea of living and realises that it’s never too late to be yourself.

    PR Supplied

    Jodie Prenger, who is perhaps best known for winning the role of Nancy in BBC’s I’d Do Anything, is impressive in this one-woman show, where she delivers the monologue beautifully; injecting life into the script and forming a believable and likeable take on the character. Her delivery is natural and enjoyable and her comic timing is surprisingly good. It is a formidable task to hold the attention of the audience when you are the only person on stage for the best part of two hours, but Prenger manages it with ease and displays the underlying vulnerabilities hidden beneath the bold veneer of the housewife in a performance which makes you feel like you are catching up with an old friend.

    That said, even with such a good performance from Prenger, the real star here is Russell’s writing itself. Shirley Valentine is a heart-warming story of self-empowerment and a show which remains as beautifully crafted, witty, funny and well observed as it ever was. Throughout this monologue, what Russell creates is an instantly familiar character that you simply can’t help but warm to immediately, as her straightforward look on life is presented via a series of genuine laugh out loud moments which seamlessly flow into moments of calm reflection and sadness as Shirley takes stock of her life.

    But the most surprising thing is how a script about a bored middle-aged housewife written in the mid 1980’s can so easily relate to today’s gay community. What Shirley Valentine realises is that there is an abundance of joy in living your life for yourself, not for others; and that that it is never too late to be yourself or to be the person that you want to be – a theme that many gay men and women will undoubtedly recognise.

    Shirley Valentine is an engaging and enjoyable piece of theatre and, despite the shifting political and social landscape in the 30 years since the play was written, its message still resonates today; and you can’t help but leave the theatre with a warm glow.

    Shirley Valentine is currently at Sheffield Theatres (www.sheffieldtheatres.co.uk) until 29th April 2017 before continuing on its national tour up until 23rd September 2017. Visit http://shirley-valentine.com/ for full details

  • RSC will mark 50 years of gay decriminalisation with Oscar Wilde’s play Salomé

    The RSC is set to stage Oscar Wilde’s play Salomé through what it calls a “gay lens” to mark 50 years of the decriminalisation of homosexuality in England and Wales.

    Staged to mark 50 years since the decriminalisation of homosexuality in England and Wales, the Royal Shakespeare Company is staging Oscar Wilde’s lyrical one-act play, Salomé.  Originally banned in Britain, this new production, performed with an almost all male cast, explores sexual ambiguity in the contemporary world.  The production is directed by Owen Horsley, and Matthew Tennyson will take on the role of Salomé, a part usually played by a female actor.

    Gay Seattle-based artist, Perfume Genius, will provide the music for the production. Material from his album, Too Bright, will be performed live by the RSC band.

    Salomé also features Andro Cowperthwaite, or simply Andro, who is also a singer, and has just released a new music track, Afterlife, which challenges the listener to rethink their perceptions of what masculinity and femininity is.

    Director Owen Horsley said,

    “For me Oscar Wilde’s Salomé is one of the greatest plays about unfulfilled desire.  It was written by gay man who was expressing his desires at a time – in the 19th Century – when it was illegal for him to do so. In this year, the 50th anniversary of the decriminalisation of homosexuality in England and Wales, I felt it was important to view this play through a gay lens – to look back at the gay experience 50 years ago and now.

    “This production will paint the play afresh by casting a male actor – Matthew Tennyson – in the title role, a part that is usually played by a female actor.  This portrayal will explore the ambiguity of gender and sexuality, and the anger, anxiety, mystery and chaos it can cause in the world.

    “Using the music of Perfume Genius, a musician who explores the dangers faced by gay men in contemporary society, the iconic dance of Salomé will be filled with a brute force that reinforces her symbolic status of undying desire.”

    “I want to celebrate a world where you now don’t go to prison because you are gay, but I also feel that it’s important to acknowledge that being a gay man is still complex, especially in the context of gender. There is still a sense of shame, an element of vulnerability and this requirement for male and female to be defined terms. And we still live in a world where in the first two months of this year seven transgender Americans were murdered, and less than a year ago 49 people were murdered in a hate crime at a gay nightclub in Orlando.”

    Andro Cowperthwaite, or simply Andro is a member of the Salomé cast. As well as being an actor, Andro is a singer who smashes the stereotype of what it means to be a Black/Mixed Race artist in this era of social norm and expectancy.

    Talking about Salomé and Afterlife, Andro says,

    “In terms of Salomé, I think that audiences and artists alike should be sensitive and open in our judgement to the fluidity of how we can portray characters of the opposite sex on stage, and even more so in the outside world. And with Afterlife what I’m saying is that we as people need to rethink our perception of what masculinity and femininity is.”

     

    “Salomé” by Oscar Wilde
    Swan Theatre, Stratford-upon-Avon
    2 June – 6 September 2017
    Tickets     www.rsc.org.uk/salome or 01789 403493

  • THEATRE REVIEW | Jane Eyre – National Tour

    ★★★★ | Jane Eyre – National Tour

    Following being orphaned, Jane Eyre is placed in the ward of her cruel aunt, who favours her own children over Jane and eventually sends her to school, where Jane meets Helen, who teaches her that “there are no evil people, only evil deeds”. Growing into a strong, confident young woman, Eyre becomes a teacher and eventually a governess, and she takes employment at Thornfield Manor, where she meets and falls in love with Rochester, her employer. But Rochester is a deeply complex man who harbours dark secrets and carries with him the weight of a past which is about to come back to haunt him.

    Charlotte Bronte’s seminal work needs very little introduction and under the impressive direction of Sally Cookson, the story is beautifully brought to life in this National Theatre production, using a slew of innovative and varied theatrical techniques to provide a highly contemporary take on a classic tale. The set, consisting of a white curtained backdrop and multi-level wooden platforms accessed by a series of ladders and steps proves to be incredibly versatile and surprisingly effective in its portrayal of the various locations. The cast scramble over the set with energy and enthusiasm as they portray multiple characters meaning that there is an almost constant flow of movement on stage.  Simple props and a healthy dose of imagination on behalf of the audience provide for an effective, original and inventive presentation.

    Nadia Clifford’s portrayal of the titular character is one which is full of confidence, life and determination, and Tim Delap’s performance as Rochester compliments it well, with his aloof and brooding quirkiness. Overseeing events is Melanie Marshall, who observes and narrates key aspects of Eyre’s life with bursts of jazz infused song utilising her beautiful and distinctive voice. The remainder of the cast play numerous roles with clear demarcation between characters and, in the case of Paul Mundell, with a little humour injected into the proceedings.

    Quite what Bronte purists will make of the production is unknown, as, whilst the production sticks closely to the source material and lifts out text, passage and prose from it, this is not your run of the mill period costume drama. Instead, it is a refreshingly inventive, highly stylised and imaginatively presented piece which never loses the spirit of the novel, and which is as trailblazing and as forward thinking as the central character herself.

    Jane Eyre is on National Tour calling in at numerous venues including Leeds Grand Theatre, Belfast Opera House, Glasgow Theatre Royal, Cardiff Wales Millennium Centre, Milton Keynes Theatre, Norwich Theatre Royal and Brighton Theatre Royal and is currently booking until 23rd September 2017. Visit the National Theatre Website for details. Many thanks to Sheffield Theatres for facilitating this review.

     

  • THEATRE REVIEW | Whisper House, The Other Palace, London

    ★★ | Whisper House
    whisper-house review

    The Whisper House is a 2009 musical with music and lyrics by Duncan Sheik, writer of the multi-award winning rock musical Spring Awakening. Never performed before in the UK, this felt like it could be an exciting possibility for Andrew Lloyd Webber’s new venue. The bar has been set high with recent jazz musical The Wild Party and the raucous studio hit This Joint is Jumpin’. Sadly, this ghost story felt more soulless than spooky. It was more of a stifled yawn than a sneaky whisper. In spite of a great cast, clever use of lighting and an evocative set, it’s a musical with a dreary book and songs that seem to merge into one anther.

    In wartime America, pre-pubescent Christopher is sent to his aunt’s eerie old lighthouse following the death of his father and his mother’s subsequent admission to a psychiatric hospital. Aunt Lily is a mournful woman, encumbered by a club foot and haunted by a past event. Oh, there’s also two convenient singing ghosts who waft about the stage making dramatic hand movements around people’s faces and pulling quaint horror film faces. Yes, it’s as bad as it sounds. There’s also a flimsy plot involving a Japanese man who works for her and the xenophobia of the times. There are storms, of course, and water swishing about. It’s a weak storyline and an inadequate framework for the equally dull songs. There’s something strangely hypnotic about the whole thing and not in a good way. I came away unsure how long I’d been in the theatre, whether there was a storyline and without any ability to recall the songs.

    If you’re a die-hard musical theatre fan and love Spring Awakening then you might enjoy this as a rare chance to see a musical that unsurprisingly failed to hit London before. You’ll definitely enjoy the cast and their fine voices. My general advice, though, would be hollered loudly rather than whispered: stay away.

     

    Whisper House plays at The Other Palace until 27th May 2017

  • THEATRE REVIEW | Thoroughly Modern Millie – Leeds Grand Theatre and National Tour

    ★★★ | Thoroughly Modern Millie – Leeds Grand Theatre and National Tour

    Set in the prohibition era in 1920’s New York, Millie Dillmount arrives from Kansas determined to snag herself a rich husband, but ends up broke after being robbed, and finds her way to the Hotel Priscilla, a run-down establishment owned by Mrs Meers. Millie tries desperately to seduce her rich boss, whilst all the time falling for penniless Jimmy Smith. But when it comes to it, will Millie choose wealth over love, and will she ever work out why the girls in the hotel keep mysteriously disappearing?

    Photo Credit – Darren Bell

    Thoroughly Modern Millie is a traditional, old-school musical in a similar style to those written by Irving Berlin and Cole Porter. Using catchy songs, a will they/won’t they love story and gentile comedy, the show bounces along in a rather enjoyable manner and maintains all of the elements one would expect from such a production. The rather straightforward plot is interspersed with a number of pleasing ensemble dance breaks and littered with toe-tapping songs which progress the narrative. Throw into the mix a rather silly subplot involving disappearing hotel guests and an ending that could only happen in a musical and you have a fun show overall.

    Joanne Clifton (Strictly Come Dancing) throws her all into the title role and surpasses expectations as Millie. The dancing, as you would expect, was spot on, but her voice was an unexpected treat, with only a little overacting letting her down at times. Sam Barrett proved to be quite a charming leading man as Jimmy Smith and the ensemble proved their worth in the dance routines, in particular, Damian Buhagiar who stood out from the crowd with his committed and well-performed dancing.

    Where the show faltered was with an uncomfortably out of date portrayal Mrs Meers, the white slave trader (yes, that’s right!) as a pantomime style Chinese woman, complete with chopsticks in her hair and rather poor Pidgin English which jostles harshly against such an otherwise whimsical plot. The set was slightly uninspired, despite its art deco/Chrysler building influence; and a rather long penultimate scene in which Graham MacDuff’s portrayal of a drunken Mr Graydon and some fake corpsing certainly outstayed their welcome. The show could have also done with a reprise of one of the songs performed by the full cast to round off the evening as the curtain fell.

    Overall, the show is light, bubbly, breezy and undemanding and a generally solid production of a little performed, if slightly dated, musical. Clifton shines in the singing and dancing stakes and the show is ultimately a feel-good, if rather throwaway, piece of theatre.

    Thoroughly Modern Millie is currently at Leeds Grand Theatre (www.leedsgrandtheatre.com) until 22nd April 2017, before continuing on its national tour until the 15th July 2017. Full details can be found at the show’s webpage at http://modernmillie.co.uk/

  • Simply Barbra ‘The 75th Birthday Concert!’

    Steven Brinberg – the world’s most famous Barbra Streisand performer – is returning to London for three nights only – playing at The Pheasantry in Chelsea – with his show celebrating Barbra Streisand’s 75th birthday in a show aptly titled ‘Simply Barbra ‘The 75th Birthday Concert!’.’ Brinberg will be singing songs from Streisand’s latest album, greatest hits and Broadway’s best. Brinberg will be joined by musical director Nathan Martin.

    Steven has been acclaimed for his vocal performance of Barbra Streisand for over a decade around the world. He has also appeared in numerous concerts with the late Marvin Hamlisch, released two CD’s, appeared in films such as ‘Camp’ and ‘Boys Life,’ and has also appeared in a concert version of ‘Funny Girl’ on Broadway, with Whoopi Goldberg and Kristin Chenoweth. He will soon be seen in the upcoming film ‘Thirsty’ as well as in the popular television show ‘Blue Bloods.’

    Simply Barbra ‘The 75th Birthday Concert!’ – Thursday, April 20th to Saturday, April 22nd, showtimes each night at 8:30 pm, doors open at 7:00 pm.

    For tickets, please go to:

    https://www.pizzaexpresslive.com/whats-on/simply-barbara-the-75th-birthday-concert

    To hear Brinberg singing as Barbra, please go to:

    https://itunes.apple.com/ch/album/simply-barbra-original-cast/id219130461

  • THEATRE | Fancy Chance is coming back to Soho Theatre

    This April, Soho Theatre audiences are set to embark on an extraordinary journey courtesy of one of London’s most celebrated and versatile cabaret performers: Fancy Chance.  Her debut autobiographical show Flights Of Fancy runs for 5 nights from April 25-29 following sell-out previews in 2016. 

    c. Bodhan Cap

    A globe-trotting, time-traveling mini-spectacle with turbulent polemics and unexpectedly poignant stop-offs, Flights Of Fancy tells the true story of the artist’s journey from Korean refugee to international cabaret performer. In-flight entertainment includes offbeat humour, songs, and scenarios, written and performed by the artist herself and developed and directed by Nathan Evans.

    Fancy Chance says,

     “For years I’ve wanted to put together something long-form that allows me to expand on themes I’ve explored in shorter work, such as feminism, racism and body politics, using my own experiences as a starting point. Which isn’t to say it’ll all be serious, but there may be tears amongst laughter”.

    Fancy’s own travels started prematurely when as an abandoned baby, her life took an unchartered turn: “To this day I know nothing of my birth parents or birth name. If I hadn’t been adopted into a white family from the USA in the 1970’s then found home in London’s cabaret scene, who might I have been?  This show is used to explore the politics of identity and migration, the ethics of interracial adoption and global gentrification and to leave the audience questioning their own privileges and perspectives”.

    Fancy Chance’s work incorporates comedy, burlesque, drag, circus, cabaret and live art. Having made London her home she is consistently working and travelling. From Las Vegas (Caesar’s Palace no less..) to Latitude, and from Gothenburg to Glastonbury, cities as far afield as New York, Helsinki and Dubai have played host to Fancy’s multiple skills and personas.  In 2009 she was crowned the Alternative Miss World by national treasure Andrew Logan after hanging by her hair from the rafters of the Roundhouse and in 2016 Fancy collaborated with Marisa Carnesky in Carnesky’s Incredible Bleeding Woman prompting positive reviews.  She regularly performs at London’s Wonderground, Royal Festival Hall, Royal Vauxhall Tavern, Leicester Square Theatre and The Box.

    ‘Twisted. Sick, even. But that’s the point.’ The Independent

    ‘Politically charged social critique with powerful feminist undertones.’ Exeunt

    ‘Consistently hilarious.’ The Stage

    Nathan Evans is a writer, director and performer whose work in theatre and film has been funded by the Arts Council, toured by the British Council, broadcast on Channel 4, archived by the British Film Institute and awarded a few statuettes. Previous shows for Soho Theatre include 7 Deadly Sins with The Tiger Lillies, Unplugged with David Hoyle and I Love You But We Only Have Fourteen Minutes To Save The Earth with Fancy Chance. www.nathanevans.co.uk 

    Listings:

    Date: 25-29 April 2017

    Time: 7.30pm 

    Title: Flights of Fancy

    Credits: performed by Fancy Chance, directed by Nathan Evans

    Venue: Soho Theatre, 21 Dean Street, London W1D 3NE

    Tickets: £10-15

    Booking: www.sohotheatre.com 

    URLS: facebook.com/fancychances

    TWITTER: @fancy_chance 

  • THEATRE REVIEW | How to Succeed in Business Without Really Trying, Wilton’s Music Hall, London

    THEATRE REVIEW | How to Succeed in Business Without Really Trying, Wilton’s Music Hall, London

    ★★★★ | How to Succeed in Business Without Really Trying

    Wilton’s Music Hall in the East End has another hit on its hands.

    How to Succeed in Business Without Really Trying is their fun and superb new show now playing at the historic venue. And it’s got the right cast to succeed without really trying to be a hit!

    Mark Pickering plays J. Pierrepont Finch – an ex-window washer who cleverly climbs the corporate ladder by taking tips from a book called ‘How to Succeed in Business Without Really Trying’ (obvs). His first step is to get a job, so he starts in the mail room at World Wide Wicket Company, working with Bud Frump (a very good Daniel Graham) – the nephew of CEO JB Biggley (Andrew C. Wadsworth). Company secretary Rosemary Pilkington (Hannah Grover) takes a liking to Finch, but Finch has more climbing the ladder to do, and soon enough he’s a junior executive. In the blink of an eye, he’s promoted to run the advertising department. And eventually, Finch will be after Biggley’s job, who has employed in the company his mistress Hedy La Rue (an excellent Lizzii Hills). She’s stacked but not too bright, and unfortunately, she gets enlisted in Finch’s new advertising campaign where she gives away the clues to a company competition, which could possibly lead to hers, Finch’s, and the company’s downfall. It’s a story told in laughs and colourful songs.

    The cast is perfect and the staging particularly brilliant. Especially good are Pilkington (great voice and timing) Hills (great comedic wit), Graham (perfect for the role as the spoiled nephew who doesn’t quite get what he thinks he deserves – with great facial expressions), and Matthew Whitby as the HR Director. Excellent direction by Benji Sperring brings this production, which is based on the 1952 book and the 1961 Broadway musical (and which has not been seen in London since 1963 when it played at the Shaftsbury Theatre). It’s pretty much as relevant today as it was when it was originally produced. And the very last song – “Company Way” – where Maisey Bawden finally comes into her own and belts her heart out, leaves the audience wanting more.

    How to Succeed in Business Without Really Trying plays at the Wilton’s Music Hall, London until April 22.

     

  • THEATRE REVIEW | Gypsy Queen – National Tour

    THEATRE REVIEW | Gypsy Queen – National Tour

    ★★★| Gypsy Queen – National Tour

    In a story set in the testosterone-fuelled world of boxing, “Gorgeous” George O’Connell, a street brawler from the travelling community is approached to be coached professionally for the sport by a local gym owner. But George’s deepest secret cannot be contained when openly gay boxer Dane “The Pain” Sampson makes a move on him in the changing rooms. The two men fall in love as George tries to come to terms with his sexuality, but they face their biggest fight when George’s internalised homophobia rises to the fore and his actions lead to a tragedy that neither of them could ever have envisaged.

    Photo Credit – PR Supplied

    In 2015, boxer Tyson Fury caused controversy by stating in an interview that homosexuality was one of three components that would see “the devil come home”. The comments caused a media storm, a backlash against the boxer and demands for him to be removed from the BBC Sports Personality of the Year shortlist. This play by award-winning playwright Rob Wright throws, and squarely lands, a counter punch at those comments by not only telling the story of gay men in the middle of the ultra-masculine environment of the sport, but by also putting forward a gay central character whose background is not that dissimilar to the background of Fury himself.

    Using two actors to portray all of the characters in the story, the play has a script with charm, warmth and some genuinely funny moments, as the pair struggle with their relationships with their parents, their fledgeling relationship with each other and the pressures and prejudices of both their professional and personal communities. The set, comprising of a changing room bench, is repositioned to transport the scenes to the various locations, and the characters demarcations come from the use of simple costume changes and some nifty versatility from the two-hander cast.

    Rob Ward centrally plays Gorgeous George with a cocksure swagger and confidence; whereas Ryan Clayton balances this out with a measured performance as Dane, played with a sensitive vulnerability. But it is Clayton’s performance of Mrs O’Connell, the foul-mouthed but well-meaning matriarch of George’s family that turned out to be a scene stealer.

    Whilst the presentation and performance of the show could do with a little polishing, there is a lot to recommend it. With its 70 minute runtime, the play is well written, well-paced and laced with humour, allowing the central message to come through without ever sounding preachy. The uncertainty portrayed by George in coming out is something that many gay men will relate to, and the exploration of the underlying homoeroticism in such a masculine sport is a welcome and timely one.

    Gypsy Queen is a funny, poignant, thought-provoking and relevant piece of theatre and one which is well worth catching.

    The show contains full frontal nudity, scenes of a sexual nature and strong language. Gypsy Queen is currently on national tour and details can be found at http://www.gypsyqueentour.com/ . The show was reviewed at Doncaster CAST Theatre, who has The Faaaabulous Ceri Dupree Show coming soon. Visit https://castindoncaster.com/ for details.

    Photo Credit – PR supplied

     

  • This theatre has the best all-gender toilet sign

    Sometimes you just gotta love a company’s sensibility.

    The management at this theatre in New Zealand doesn’t care what gender you identify as, or it seems, even if you identify as human – just as long as you wash your hands.

    The sign was the idea of the theatre director Sarah Anderson. Speaking to the Otago Daily Times the theatre manager said,

    “We like people to be relaxed and that’s the point of having the sign,

    “It takes any anxiety away for people who might feel pressured into going into toilets specified for one gender, or another, when they don’t necessarily relate to that gender.

    “The sign was installed to help people ‘to feel more comfortable and safe”.

    Quite right.