THEGAYUK

Category: Theatre

  • THEATRE REVIEW | Blood Brothers – Sheffield Lyceum and National Tour

    Over the last 29 years, Blood Brother has nuzzled its way into the hearts of theatre goers with its blend of music, comedy, pathos and social commentary.

    The show tells the story of Mrs Johnstone, a single mother struggling to make ends meet. Finding herself pregnant with twins, she realises that she can only afford to keep one of them, so enters into a pact to give one of them to a well-to-do neighbour, Mrs Lyons. The boys meet and become best friends, never knowing that they were twins secretly separated at birth. But as they grow up, their friendship is tested; as their lives take different paths, leading to tragedy. Featuring the songs “Bright New Day”, Marylyn Monroe” and the heart-breaking “Tell Me It’s Not True”, the show still packs out theatres up and down the country and is affectionately known as “the standing ovation musical”.

    There is a reason why this play has been so enduring, and that is primarily down to the superb writing by Willy Russell. The loud first act establishes the characters nicely and is very comedy orientated, if sometimes a little bit too shouty in its presentation. But it is in the second act where the writing shines through, with both the progression and changes of the characters and the genuine drama which captivated the audience as it unfolded, leading to the ending which still packs an emotional gut-punch. The production values of the show were very high indeed, with its detailed sets, costumes and props and the presentation as a whole was relatively polished.

    There are some very good performances in this production, primarily from Sean Jones, who portrays the transition of Micky from giddy schoolboy to troubled young adult with ease, having made the role very much his own over the years. Kate Jarmon as Mrs Lyons provided an impressive turn as a woman descending into madness and paranoia and rounding off the leads were Joel Benedict as Eddie and Danielle Corelass as Linda, both of whom were equally as strong.

    With those performances in mind, it’s a real shame that Marti Pellow disappoints as the Narrator, looking awkward and uncharismatic as he skulks around the set utilising an indeterminable accent whilst over singing and over emphasising every syllable of every word he delivered. Maureen Nolan, offered a really warm portrayal of Mrs Johnstone garnering a genuine empathy from the audience, but whose singing voice was not quite on form on the evening, which is a shame when I have seen her perform much better.

    Having seen the show many, many times, this was the first time I felt that Blood Brothers is now starting to show its age a little, with its overuse of electric drums and echo microphone; but it could be said that in some way, that adds to the nostalgia and emphasises that the socio-economic issues addressed when the play was first written are still relevant nearly 30 years later.

    Blood Brothers is opening its 2015 tour at the Sheffield Lyceum (www.sheffieldtheatres.co.uk) before touring the country until May, details of which can be found at http://www.kenwright.com/index.php?id=590

  • THEATRE REVIEW | Fleabag: Epically Entertaining and Daringly Dirty

    ★★★★★ | Fleabag

    Fleabag is a kind of play where you are unsure of what you will be watching. Especially as the sign on the theatre entrance read: ‘Warning: References to sex’.

    Fleabag is a one-woman sixty-minute show that portrays the life of one young woman in the most hilarious, sympathetic and filthy fashion. Loved it. It starts in an interview setting, and then it trails off to her hot encounters and her needing to take ‘hot’ photos of herself to please her many admirers. ‘Take A Dirty Picture For Me’ comes to mind.

    It all happens in the space of 48 hours, and whilst it is funny in the writing, it shows great depth when the theme of feminism is introduced in an almost caricature way. Maddie Rice played the role master-mindedly. She makes her character appear ‘laddish’ and pertaining to be a player.

    Though many things she did and said were crude and filthy, if a bloke said and did the same things as Maddie, to his ‘blokey’ mates, no one would batter an eyelid. But because it was a female, some audience members cringed with discomfort.

    Maddie Rice plays the unnamed character with utter and sheer brilliance. Her wit and humour were 10/10. It was that funny that I thought I had booked tickets to see a stand-up comedian at ‘Live at the Apollo’ show. Maddie really captured the role as written by Phoebe Waller-Bridge, with precision and dedication. It felt as though the role was written for her.

    Phoebe Waller-Bridge’s writing was a delicious treat to our ears, and a true and daring piece of work that was worthy of the full-house show it received.

  • Moscow City Ballet’s Swan Lake – Sheffield Lyceum and National Tour

    ★★★ | Moscow City Ballet’s Swan Lake – Sheffield Lyceum and National Tour

    It is a tidal wave of tights, tutus and tiaras in this presentation of one of Tchaikovsky’s most famous ballets, performed in typical traditional style by the Moscow City Ballet.

    Telling the story of a Prince who finds his youth slipping away and being pressured into marriage, he meets and falls in love with Odette, Queen of the Swans, who is under a curse from which only true love can free her. But their love is thwarted by Von Rothbart when he tricks the Prince into being betrothed to another. When the Prince realises he has been a victim of such cruel treachery, he battles to save Odette from her curse.

    Having not been overly impressed with my first visit to Moscow City Ballet (for their performance of The Nutcracker) I was not sure what to expect, but found that Swan Lake proved to be a more entertaining and gentile evening that I anticipated. The company as a whole were very talented, and the number of stumbles and heavy footed landings was significantly less than when I had seen them before. The dancers individually were all very talented and quite natural in their performances, and there is no denying the technical ability and suppleness of the cast, but when dancing as an ensemble, there were still some flaws in the performance, with the unison of the dancers not being as tight and synchronised as one would hope for and anticipate, especially from such a prestigious company.

    That aside, the vivacious and playful score by Tchaikovsky sounded as vibrant as ever, and proved absorbing, especially during the first act. There were times when the ballet sparkled brightly, nowhere more evident than the sight of a sheer volume of swans and signets in the latter portion of the second act, which amounted to a fairly mesmerising vision. The tapestry based static set was functional and place the audience in mind of the time when this ballet was first performed; and the costumes were beautifully put together. There was a romantic pas de deux and the soloists portraying the potential suitors displaying their wares at the opening of Act 3 were quite captivating.

    For those seeking a traditionally presented ballet, then this version of Swan Lake is a safe bet and a pleasant evenings entertainment, albeit one which is let down to an extent by a lack of unison within the performance, which is a shame when compared to the tightly performed routines by companies such as Northern Ballet and Matthew Bourne’s New Adventures. However, there remain many aspects of the show to enjoy and it is an easy, accessible ballet which is more focussed on dance and performance than detailed narrative.

    Further details can be found at www.sheffieldtheatres.co.uk and www.moscowcityballet.com/en

  • REVIEW | Cirque du Soleil: Kooza at the Royal Albert Hall

    ★★★★ | Cirque du Soleil: Kooza at the Royal Albert Hall

    Founded in 1984, Cirque du Soleil has been around so long now that finding something fresh to come up with in each new show must be a major headache. That they succeed as well as they do is a tribute to their creative team, which is still guided by Guy Laliberte, one of the founders.

    Their show, Kooza, which premiered in Montreal in 2007 is receiving its UK premiere in the Royal Albert Hall, the scene of many of Cirque du Soleil’s successes, the hall’s Victorian rococo splendour and circular shape particularly suited to their shows. In this instance the stunning set had the look of a massive Faberge egg, which opened to reveal its magic and secrets.

    According to the lavish programme booklet Kooza tells the story of the innocent, a naïve but charming clown striving to find his own place in the world, and as usual it is the clowns who tell that story whilst linking the various acts together. They have their own charm, but there’s no doubt it’s the daredevil acts that the audience have come to see, and as usual they do not disappoint.

    For me the highlight of the evening was the death defying Wheel of Death, a spinning contraption with two empty drums on either side, in which, and on which, two male acrobats (Jimmy Ibarra and Ronald Solis) perform seemingly impossible feats, running and leaping as if the spinning of the drums was little more than a paltry distraction. Almost equally thrilling were the high trapeze antics of Yulia Korosteleva, who leaped and flew through the air with insouciant ease.

    In contrast, we had a trio of impossibly bendy female contortionists and a man (Yao Deng Bo) who proceeded to balance himself on one hand on a huge tower of chairs which he constructed before our eyes. As a display of strength, concentration and accuracy, it was utterly mesmerising.

    That said, I don’t think this show was quite on a par with Varekai, which I saw at the Royal Albert Hall some years ago, and the finale of which will stay in my mind for a very long time to come, so 4 rather than 5 stars for me.

    Kooza plays at the Royal Albert Hall till February 19.

  • REVIEW: The Lipsinkers at the House of Wolf

    The LipSinkers are an infamous troupe of alternative drag performers who create highly innovative, outrageous and critically acclaimed cabaret shows.

    After having made appearances at the Edinburgh Fringe festival and resident stints at The Royal Vauxhall Tavern, the strong collective combine costume, dance, satire, prosecco, over lashed eyes, faces beat to death and exceedingly high heels. They take you on a hilarious offbeat romp through popular music in all its glorious guises. The team lip-synch to a jukebox of pop-tastic tunes, prance around looking fabulous and drive audiences wild.

    What is it that makes the LipSinkers so appealing I hear you ask? It’s a hard thing to describe; perhaps it’s their insatiable desire to produce high-octane queer exuberance that brightens this often dismal world. Nonetheless, it is a hilariously entertaining alternative show full of performers that lip-synch to imaginatively selected songs with precision that will bring fear to the queens of Ru Paul’s Drag Race.

    The mentality is undeniably left-field: the looks are brilliantly bonkers, a kind of club-kid couture encompassing plastic Macs, lacy bodies and vintage mumus; think of Jiggly Caliente in that infamous outfit strutting down the runway. The routines are tightly choreographed, despite often giving the impression of abstract absurdum. The acts are definitely sexy and at times disgustingly sexual. However it is the chemistry between the charismatic performers that is delicious to view. Even with extra special additions, including implicit politics and the obvious sheer enjoyment at work.

    The LipSinkers have natural ferocity coupled with endearing charm. Like a heavily medicated and intoxicated Pan’s People they have an exciting feel to them that will warm the blood of any ardent cabaret-goer. Disregard any ill-conceived preconceptions you may have had about lip-syncing before and prepare to hold on tight because this group of gender benders doesn’t just offer up a bog standard show, this is a visually stimulating experience, culminating in one hell of a party.

    This is definitely a 5 out of 5 show and a performance that you have to see. It’s a free show so there are no excuses not to partake in this evening of farcicality, so worry about work on Monday and try to squeeze as much as from the weekend as you can.

  • THEATRE REVIEW | Dickens With a Difference, Trafalgar Studios, London

    ★★★ | Dickens With a Difference, Trafalgar Studios, London

    What can be more festive than Charles Dickens with his depiction of Victorian London in ‘A Christmas Carol”? Trafalgar Studios has chosen to present a spectacle of an all together different and darker aspect to Dickens’ work over this year’s Christmas period.

    Miss Havisham’s Expectations
    ★★★
    If you’ve not heard of the iconic Miss Havisham then it’s about time you treated yourself to this embittered, grief-stricken woman. Sitting in her rotting wedding dress amongst the remnants of the wedding breakfast that never was, in a dilapidated mansion overrun with mice? Training up a child to wreak havoc on men? That’s my kind of reaction to a messy break-up. Being jilted at the altar and conned out of money is bound to turn a girl’s head a little. ‘Miss Havisham’s Expectations’ adds a new dimension to the story we’re told in ‘Great Expectations’. Finally, in Di Sherlock’s play, she gets to tell her side of the story. Self-aware, funny, sweary and in the full knowledge that she is a fictional character; this Miss Havisham dances, practices conjuring tricks and speaks her mind very clearly. Her views on Dickens’ treatment of women are particularly illuminating.

    Critically acclaimed actress Linda Marlowe (currently Sylvie Carter in EastEnders) gives a superb performance. The sets are adequate; the wedding dress was maybe a little too modern and the play does have the odd moment but on the whole, this monologue packs a punch and is worth a look.

    Sikes and Nancy
    ★★★
    Dickens wowed Victorian audiences with his dramatic readings of his work. Here, James Swanton, takes on the scene from ‘Oliver Twist’ where Nancy is murdered by Bill Sikes. This is high melodrama, bought to life by one man with only a few chairs as props and a clever lighting set to accentuate his storytelling.

    Swanton takes on numerous characters through shifts in voice and facial expressions and takes us through the build-up and aftermath of the crime on what is a thrilling ride. It’s a show that’s received much acclaim and even Dickens aficionado Simon Callow classed it as remarkable.

    A word of caution: There’s a lot of facial contortion, character voices and melodrama. I enjoyed it but my companion was left cold by the show.
    Miss Havisham’s Expectations
    Tuesday 9th December 2014 – Saturday 3rd January 2015

    Watch the trailer and buy tickets here: http://www.atgtickets.com/shows/miss-havishams-expectations/trafalgar-studios/

    Sikes & Nancy
    Performance Dates Tuesday 9th December 2014 – Saturday 3rd January 2015

    Read more here: http://www.jamesswanton.com/sikes–nancy.html

    Buy tickets here: http://www.atgtickets.com/shows/sikes-and-nancy/trafalgar-studios/

  • THEATRE REVIEW: Northern Ballet’s Peter Pan, Leeds Grand Theatre

    Join Peter, Wendy, Michael and John as they fly off against a backdrop of stars to Neverland in search of adventure. Teaming up with the Lost Boys, the friends are never far away from Captain Hook and his band of pirates, who have a score to settle with Peter Pan. But as the battles ensue and the Lost Boys are captured by the pirates, it is down to Peter Pan to save the day, with a little bit of help from Tinkerbell. ★★★★

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  • THEATRE REVIEW | Anything Goes – Sheffield Crucible Theatre and National Tour

    ★★★★★ | Anything Goes – Sheffield Crucible Theatre and National Tour

    It’s all aboard for high camp on the high seas, as the SS American sets sail from New York to Southampton and Billy Crocker stows away on board to chase the love of his life, Hope Harcourt. When he discovers that Hope is due to marry hapless fop, Lord Evelyn Oakleigh, Billy teams up with a gangster, Moonface Martin, Erma, the Gangster’s Moll; and a sassy lounge singer, Reno Sweeny, in an attempt to win her hand. But can Billy avoid the sailors hunting the stowaway, get away with a number of dubious disguises, avoid his unsuspecting boss and get Hope to agree to marry him before the ship docks in Southampton?

    Featuring the songs “I Get a Kick out Of You”; “You’re The Top”; “De-Lovely”, and “Anything Goes”, this 1930’s set musical comedy, which was written 80 years ago, is still an utterly joyous delight. The story has everything you could want from a whimsical musical – a will they/won’t they love story, a genuinely funny, laugh out loud script, some subtle slapstick and elements of farce, mistaken identity, disguises of varying quality, feisty heroines and, of course, a delightful and timeless score and songs which make it impossible for you to resist tapping your feet.

    This art deco tinged production is packed with well-timed comedy, spectacularly choreographed set pieces, good vocal performances and an uplifting sense of fun which proves utterly irresistible. Stephen Matthews delights as the naïve, bumbling toff, Lord Oakleigh, who is bursting with a dark family secret. Hugh Sachs (from TV’s Benidorm) shows his comedic talent as Moonface Martin, in a performance which is reminiscent of Nathan Lane in The Producers; and Debbie Kurup was a sassy bundle of energy in her performance as Reno Sweeney, heading up the tap dancing, show-stopping denouement to the first act and a lively and vivacious opening to the second act.

    The show is well directed and choreographed and is brimming with such energy and you can’t help but get swept along by it. This production is a welcome and well-timed revival of a criminally underperformed show, which has a surprising number of parallels between the 1930s and modern day, in terms of the economy and the public’s interest in celebrity. But the rapturous standing ovation and the number of people singing, tap dancing and laughing as they left the theatre is the most accurate measure of the success of the show.

    Sheffield Theatres annual Christmas musical is rapidly garnering a national reputation as one of the most hotly anticipated theatrical events, and after their award-winning productions of My Fair lady and Oliver! over the last two years, Anything Goes continues the trend.

    Anything Goes is playing at Sheffield’s Crucible Theatre until the 17th January 2015, before embarking on a national tour covering a total of 30 venues up and down the country between now and October 2015. Visit www.sheffieldtheatres.co.uk and http://anythinggoestour.com for information, tickets and tour details.

  • THEATRE REVIEW | Apartment 40C

    ★★★★ | Apartment 40C

    Relationships are difficult things; from their tenuous beginnings through to their rocky patches, moments of pure joy and sometimes bitter dissolutions. Apartment 40c looks at the lifespan of a relationship of a New York couple by looking at their lives over the course of three pivotal evenings.

    Tom Lees and Ray Rackham’s clever new musical uses six actors to play the same two characters at different points in their lives. The characters often mingle on stage, unaware of the existence of their older or younger incarnations.

    Fresh-faced Alex Crossley and Alex James Ellison lend a romantic comedy element to the piece, playing the couple when they first meet in the apartment. Lizzie Wofford and the handsome hunk Drew Weston play the couple as they hit a difficult patch with brooding resentment, differences of opinion and betrayal threatening their once blissful intimacy. Nova Skipp (last seen in the incredible Damn Yankees at The Landor) and Peter Gerald play the couple in later life, returning to the apartment to arrange its sale.

    The story is well balanced with comedic moments, poignant numbers and rousing passionate songs. The music and lyrics are as good as you’d hear in any big West End musical (if not better, at times). Tom Lees and Ray Rackham’s show has a touch of Sondheim about it in places but ultimately has a unique and very distinct style of its own. The cast are spectacular with a standout performance from Lizzie Wofford who has the most amazing voice and is a breathtakingly accomplished actress. Drew Weston’s torso is worthy of a mention too. The sight of his six pack as he strode on stage in nothing but a towel led to a lot of shuffling and creaking of seats in the theatre.

    The set is well constructed and barring a few weak moments, this is an outstanding musical and a rare treat. Catch it while you can and I can almost guarantee that you’ll also catch some rising stars of theatre.

    Apartment 40C runs until the 20th of December at the London Theatre Workshop.

  • THEATRE REVIEW | Treasure Island, the Curse of the Pearl Necklace, Above The Stag

    Well it’s almost Christmas and the silly season has started, and what better way to spend a couple of silly hours than at the Above the Stag theatre in Vauxhall at their yearly pantomime Treasure Island and the Curse of the Pearl Necklace?

    Though this is the first of their pantos I have seen, over the six years since their first one in their old home in Victoria, they have played to sell-out audiences each year and it’s easy to see why. Definitely not the show for the family outing with mum, dad, grandma and the little ones, this is the show you creep out to enjoy with your mates.

    I’ll have to confess pantomime is not really my thing. I usually go out of my way to avoid it, but maybe if they were more like this one I’d go more often. The script by Jon Bradfield and Martin Hopper abounds in witty one-liners that come so fast and furious it’s almost impossible to keep up. They have retained most of the pantomime traditions that we have grown up with, and the audience catches on quickly, shouting out “behind you”, “oh yes you are” and joining in the community singing with gusto.

    Another of the panto traditions they have retained is the character of the dame, here in the guise of Jim Hawkins’s mother, Sally and Philip Lawrence gives quite the stand-out performance of the night. Whether it be delivering the naughty dialogue, joking with the audience or delivering the odd ad lib, he is the master (mistress?) of every situation, and frequently had us all in fits of laughter. Hugh O’Donnel as Ethel, the Merman (get it?), who acted as our narrator and guide, was equally hilarious, delivering all his lines with his tongue firmly lodged in one cheek. In a fairly large cast, though, absolutely no one let the side down.

    In the past I have been known to criticise Andrew Beckett’s direction (in The Gay Naked Play and You Should Be So Lucky) but here he is obviously in his element. My problem in the other plays was that too much of the action was played out front, encouraging the cast to mug too much to the audience, but that is exactly what is required of pantomime, and here it works splendidly. Aside from a section at the beginning of the second act, which flags slightly, the swift-moving action holds one’s attention throughout and moves seamlessly from one scene to another.

    One should also mention the superb set by David Shields and Daniel Johnson’s excellent musical direction.

    If, like me, you can be a bit allergic to the usual Christmas fare, then this irreverent, naughty, adult orientated gay romp is definitely for you.

    Treasure Island and the Curse of the Pearl Necklace plays until January 10 at Above the Stag and I’d advise you to book early, as it will no doubt sell out completely.

  • THEATRE REVIEW | White Christmas, West Yorkshire Playhouse, Leeds

    ★★★★★ | White Christmas, West Yorkshire Playhouse, Leeds

    Army pals turned song and dance men, Phil Davies and Bob Wallace, are on their way to Florida for Christmas, when they stop by at Jimmy’s Nightclub to audition Betty and Judy Haynes, a sister act, for their new show. For Phil and Judy, it is love at first sight, but for Bob and Betty, it is a frosty start. Phil secretly swaps their train tickets and the pair follow the sisters to Vermont, where they are booked to play at the hotel which is owned by Phil and Bob’s former Army General, and, which is on the brink of closing. Calling in favours from their showbiz contacts and their old army pals, Phil and Bob try to put on a show to save the hotel and make it a Christmas to remember, but, as Bob Wallace discovers, falling in love can be very distracting.

    Written by Irving Berlin, and containing a number of classic songs, including Love And The Weather, Love, You Didn’t Do Right By Me, Sisters, You’ve Got My Love To Keep Me Warm and, of course, White Christmas, this feel-good Christmas story is welcomed back to the stage in a simply brilliant production by West Yorkshire Playhouse.

    The production contained a well-rounded and consistently solid cast throughout, with the vocal performances across the board being of a very high quality. Melanie La Barrie belted out Let me Sing and I’m Happy, somehow seeming to channel the spirit of Ethel Merman into her performance. Darren Day was much better vocally than expected in his understated performance, but the standout cast member was Oliver Tompsett, whose charisma filled turn as Phil Davies showcased his ability to sing, dance, act and take on the comedy aspect of his role superbly.

    The set allowed the stage to open up into an abundance of space to undertake the well-choreographed and enthusiastically performed set pieces. There was a real tinge of 1950’s Americana in the costumes, certain aspects of the set, and the large set pieces; which were reminiscent of the old MGM Musicals. The on stage orchestra were spot on and the sound in the theatre was crisp, clear and well balanced between vocals and orchestra.

    If pushed to find fault with the production, the dancing in the set pieces could have been slightly tighter and the set did seem a touch sparse at times, but with a production that was so enjoyable, such quibbles seem slightly unfair.

    This is certainly one of the theatrical highlights of the year for me, and notwithstanding the twee nature of the show itself, you can’t beat a bit of good, old fashioned, family friendly and feel good entertainment at this time of the year.

    Irving Berlin’s White Christmas is currently playing at West Yorkshire Playhouse, Leeds until the 17th January 2015. For information, to book tickets or for details of their new season, visit their website at http://www.wyp.org.uk