THEGAYUK

Category: Theatre

  • THEATRE REVIEW | The Picture Of John Gray, The Old Red Lion Theatre, London

    ★★★★ | The Picture Of John Gray, The Old Red Lion Theatre, London

    ‘We all hide – the only choice is where.’

    Based on a true story, C.J. Wilmann’s play is an unconventional love story about secrecy, denial and compromise.

    In the summer of 1889, Oscar Wilde began a love affair with a young working class poet whose beauty seemed to defy Time itself. Months later, he would use this man’s surname for his most infamous creation. Immortalised in The Picture of Dorian Gray but soon ditched by its author, John Gray is left to grow up and become his own man.

    Meanwhile Oscar is playing out his own downfall on the most public of stages. He is imprisoned for acts of ‘Gross Indecency’ with other men, and the community of poets and artists he had mixed with is fractured as a hunt for Sodomites sweeps London. As around him the most resilient of relationships are pushed near breaking point, John must choose sanctuary in the purity of his faith or the dangerous arms of a man who offers him love.

    I’ve always been ambivalent about Oscar Wilde, finding his works amusing and sparkling with genius but also annoyingly pompous and at times grating. I had a little trepidation about this play but I was quickly proved wrong. This is a very well written and staged play with a strong storyline and a moving and emotive theme. The five young actors portray the circle of Victorian gay men with convincing panache and although there are Wilde-like moments in the banter within the script, this is so much more than a story about the effect of Oscar Wilde but more a depiction of what must have been a terrifying time to be gay.

    The two leads, Patrick Walshe McBride and Christopher Tester, are outstanding in their performances and are ably supported by the rest of the cast on a stark stage set with a backdrop of an oversized fragment of a painting of a young man. Tester’s powerful performance (as Gray’s lover. Andre Raffalovich) moved me close to tears and Walshe McBride subtly takes the viewer through Gray’s evolution from foppish young poet through to a wiser, more measured man. These are definitely actors to watch out for.

    This is a play that is well worth seeing, with major themes that are still relevant today but equally as important, it’s an entertaining, moving and often comedic play. Whether you love, loath or are indifferent to Wilde is irrelevant. This is a great piece of theatre.

    The Picture of John Gray runs until the 30th of August 2014
    There are also various post show events:

    Post-show talk with Martin Bowley QC, legal barrister and prominent gay rights campaigner, Tuesday 12th August
    Post-show Q&A with the cast and crew, Wednesday 13th August

    Post-show open discussion on Oscar Wilde with CJ Wilmann and special guest Neil McKenna (author of The Secret Life of Oscar Wilde), Friday 15th August

    Buy tickets here: http://www.oldredliontheatre.co.uk/the-picture-of-john-gray.htm

  • THEATRE REVIEW | My Night With Reg

    ★★★★★ | My Night With Reg

    Kevin Elyot’s witty, warm and poignant 1994 play introduces six gay men in 1980s London over the course of three meetings. Shy and nervous Guy is hosting a flat warming and, as he prepares for the evening, John; the flashily handsome man he has spent over fifteen years nursing a crush on, arrives early.

    Bickering couple Bernie (a finicky bore) plus his testosterone fuelled bus driver partner Benny and joyously flamboyant Daniel make up the group of friends. Naïve young Birmingham painter and decorator Eric sits on the peripheries.

    Binding the men is Daniel’s lover, Reg, a mysterious and never seen figure who is never seen on stage but who the men have a surprising amount in common with, namely their night or nights with him. The script is hilarious, tightly written and very ably performed by this superb cast. The themes are writ large but always subtly played. The spectre of AIDS is a constant presence yet is never named explicitly. Unrequited love, betrayal, anxiety and loneliness are all heavily featured yet in such a way that they aren’t oppressive or laboured. It’s a testament to the late Elyot’s writing that this play is so tightly scripted and at 1 hour 50 minutes with no intervals, passes in a whir, never dragging.

    The cast are excellent and the characters are portrayed as well rounded and three-dimensional which is quite some feat in a play that has such comedic power also. There isn’t a weak link in the cast and special mention has to go to the very handsome Julian Ovenden’s prolonged moment of nudity (I’d be lying if I said it wasn’t an image that has stuck in my mind).

    Sadly, Elyot died before he could see this magnificent revival of a play that deserves not to be forgotten. Tickets are selling out very quickly so clamour online, queue for day returns, beg and scramble for one. This is a performance not to be missed.

    My Night With Reg runs until 27th of September 2014 at the Donmar Warehouse, London.

    Tickets available here

  • THEATRE REVIEW | Epstein – The Man Who Made The Beatles

    ★★★★ | Epstein – The Man Who Made The Beatles

    Brian Epstein was, as the title suggests, the man who made the Beatles. After seeing them play a lunchtime gig at the Cavern Club in Liverpool in 1961, he persuaded them to let him act as their manager (in spite of no previous experience in this role) and helped find them the record deal that would shoot them to stardom.

    In spite of his pivotal role in changing the face of British music he was often overlooked and missed out on recognition and credit for his behind the scenes influence.

    Jewish, gay in a time when homosexuality was a criminal offence and experiencing an early death aged 32 from an accidental overdose of sleeping pills; what more do we know about Brian’s life? Andrew Sherlock’s well written two-hander delves into the psyche of Epstein by imagining a night just before his death where he brings back a young man (known only as This Boy) to his swanky Belgravia apartment. The writing is tight and witty and cranks up dramatic tension, let down only slightly by the overuse of puns relating to The Beatles and the odd cheesy line and too knowing comment about the sixties. There’s plenty of absurdity in Epstein’s preening and posturing and his fragile vanity but also pathos as he reveals himself as a man who has spent his life fighting his own corner in a bullying and disapproving world for a young Jewish gay man.

    Andrew Lancel (Coronation Street, The Bill) is excellent as Epstein, even managing to look spookily like the man himself. He portrays him with skill as a well-nuanced character with endearing vulnerabilities as well as touches of monstrosity and simpering pomposity. He inhabits the stage, a convincing and versatile sixties interior, with a real presence and is entirely believable. Lancel is clearly an experienced actor at the peak of his powers and is a sight well worth seeing. Newcomer Will Finlason, as This Boy, is also extremely talented and his character acts as part narrator and partly as an excellent foil that illuminates the character of Epstein.

    The set is perfect with stylish back projections and gorgeously stylish animations that work really well to enhance the piece and create period style. The beautifully restored underground gem of the Leicester Square Theatre is an ideal venue for the show as it was dubbed the Cavern in the Town back in the 1960s due to its hosting of music acts. It’s got air conditioning too if you need to escape an oppressively hot evening for a few hours too.
    This isn’t a perfect play but it’s a good play and well worth seeing for an entertaining couple of hours.
    The play runs until the 6th of September 2014
    Buy tickets here: http://epsteintheplay.com

  • THEATRE REVIEW | Drag King Richard III, Riverside Studios, London

    ★★★★ | Drag King Richard III, Riverside Studios, London

    STANCE Theatre’s highly acclaimed production drags Shakespeare’s Richard III into a black comedy exploration of transgender identity.

    For Laurie, born biologically female, the frustration of living in the wrong body presents disturbing consequences with long-term lesbian friend, La Femme. She identifies with Shakespeare’s deformed anti-hero after auditioning to play him in a school production; seeing parallels with the betrayal she feels within, her from her own body and the play is interspersed with clever interpretations of Shakespearean dialogue that fit perfectly within the context of Laurie/Laurence’s story.

    When Laurence re-enters La Femme’s life after a spell away in the army, she reveals that she’s transitioning. La Femme struggles to understand this, initially and the issue brings into perspective her own thoughts and feelings about gender identity, how others perceive and react to you and what it means to be you.

    I wasn’t sure what to expect from this performance but I definitely got more than I bargained for. Terri Power’s award winning piece is a funny, deftly written play with some genuinely moving moments. The themes of identity are universal and not just applicable to transgender people. Laurie’s story is a fascinating one and one that shouldn’t feel too difficult for anyone to grasp, thanks to Power’s concise yet powerful play. The conceit of the two handed perspective and the humorous touches worked brilliantly. This is much more than a straightforward ‘issues’ play. Well worth seeing with very strong performances from the two leads.

    I wasn’t sure what to expect from this performance but I definitely got more than I bargained for. Terri Power’s award winning piece is a funny, deftly written play with some genuinely moving moments. The themes of identity are universal and not just applicable to transgender people. Laurie’s story is a fascinating one and one that shouldn’t feel too difficult for anyone to grasp, thanks to Power’s concise yet powerful play. The conceit of the two handed perspective and the humorous touches worked brilliantly. This is much more than a straightforward ‘issues’ play. Well worth seeing with very strong performances from the two leads.

  • THEATRE REVIEW | The Freedom Of Freewill, Doncaster Cast Theatre

    ★★★ | The Freedom Of Freewill, Doncaster Cast Theatre

    Doncaster has a rising star. Nestled amongst the urban redevelopment of the town centre, proudly placed at the side of a large open space is the Cast Theatre. There is little doubt that this impressive little theatre is going to be the centrepiece of Doncaster’s growing cultural scene. Providing a mixed programme of everything from comedy to jazz, modern dance to international acts, Cast also has one significant thing at heart – the community.

    TGUK was kindly invited along to a performance of “The Freedom of Freewill”, am abstract piece of contemporary dance, which was thought provoking and visually interesting; exploring the best and worst of human nature. Asking the question about what is freedom, and is one person’s freedom actually another person’s oppression, the show combined music, dance and visual imagery to confront the audience with images and themes which pushed at comfort zones and garnered a genuine reaction from the audience. The six young local dancers were talented and contorted into a number of shapes using their bodies, challenging the audience and forcing different viewpoints to be considered. The show is now embarking on a European tour, but it was a credit to the young performers and the production company, Urban Conceptz Theatre, who created and produced in association with Cast Theatre.

    That is where Cast Theatre is a little different. It nurtures local talent and offers an opportunity for all to be part of it – whether that is through one of their open auditions or simply as a welcome member of the audience. The venue itself is a modern and fresh looking building, all straight lines and right angles from the exterior, but inside, giving way to curved architecture and providing a visually interesting foyer, which extends the length of the building. One of the things that was immediately noticeable was the friendliness of the staff, who were more than helpful and polite. The foyer harbours a café, which provides three menus throughout the day and a selection of drinks, which is ideal for that pre-show tipple or some tapas to share with friends.

    Inside the theatre itself, it is a small and intimate venue, with very comfy seats and, for those tall ones amongst us, a generous amount of leg room. The modern interior was striking and the large tubular chandelier with its neon pink lighting looked perfectly in place. The sound in the auditorium, for this performance, was crystal clear, loud and full of bass, which suited the show perfectly. The air conditioning kept an ambient temperature, whilst never being invasive and the closeness to the stage drew you right into the performance.

    Cast was an absolutely delightful venue and one which genuinely deserves the support of the local community and those in its proximity. It is the equivalent of those little independent niche cinemas that have been springing up all over the country and its blend of independent productions of song, dance, theatre and music provide for one unique venue.

    Cast is a theatre which is a little different. It provides a performance venue for the community and specialises in its own productions, providing an opportunity for talent, both from the local area and beyond, to perform. They are one of the sponsors of Doncaster Pride 2014 and their venue will be the backdrop to this year’s re-launched Pride event. The team from Cast will be there on the day; alongside The Gay UK who will also be there; some come and find both of us and say hello.

    You can find out more about Cast’s upcoming productions by visiting their website (http://castindoncaster.com/ ); following them on Twitter (@castindoncaster) or on facebook (https://www.facebook.com/castindoncaster)

  • REVIEW | Cirque Du Cabaret, London Wonderground

    ★★★★ | Cirque Du Cabaret, London Wonderground

    The Wonderground features a packed programme of circus, cabaret and family entertainment, all taking place in the beautiful 1920s Paradiso Spiegeltent. There’s also oddities, curiosities and eccentricities from the Sideshow Wonderland run by Guinness World Record-Holder, The Space Cowboy, and the 60-metre high Star Flyer gives you an unrivalled view over London’s rooftops (if you can bear to keep your eyes open, I couldn’t!).

    There’s a huge range of top class entertainment from the saucy Briefs Boy-lesque, the breath-taking Limbo, the hilarious Tina C plus loads more burlesque, cabaret as well as more family-themed fun. It’s definitely worth getting down there just to soak up the atmosphere on a summer’s evening and hang out in style somewhere that’s a bit more exciting than being huddled together on the pavement of a sweltering London boozer getting jostled by pedestrians.

    I was lucky enough to catch the Cirque du Cabaret, hosted by the dazzling wit that is Champagne Charlie. Set in the glorious Spiegeltent with all its glittering glamour, this was an atmospheric night that sizzled with sex appeal and risqué humour. Featuring the cream of London cabaret, comedy and burlesque in an ever-changing line-up, this has got to be one of the finest nights out in the city.

    The next Cirque du cabaret is on the 8th of August at The London Wonderground. Read more here: http://www.cirqueducabaret.com

    Read more and book shows for The Wonderground here: http://www.londonwonderground.co.uk/your-visit

  • THEATRE REVIEW | The Anorak, The Hope Theatre, Islington

    ★★★★ | The Anorak, The Hope Theatre, Islington

    The Anorak tells the story of the École Polytechnique Massacre, when Marc Lepine shot 28 people, killing 14 at a Canadian Polytechnic college in 1989.

    Told from the point of view of the killer, the play separates its audience into two groups: men and women and much of the 70 minute play is directed solely towards the male audience members. This one man play recounts Lepines’ early life, his relationship with his mother and sister, and his justifications for the killings. In light of recent events, particularly the shooting in Santa Barbara, which similarly targeted female students by a student who was unable to get a girlfriend, this play is immediately unnerving and poignant.

    Originally written by Adam Kelly, a Canadian writer, the play has won several awards in Canada. This adaptation sees Felix Brunger take the lead role with Matthew Gould at the helm as director. Brunger is believable if not quite likeable in the lead role, the audience is left short of being on his side during the play. He recounts his version of events and his early life, and there are occasional moments of relief from the heavy subject at hand with throw-away lines such as ‘like who gets rejected from the Canadian Army?’
    Overall this adaptation is well acted and handles the heavy subject matter with care; Brunger owns the role of the social outcast completely, keeping the (male) audience on edge as he directs his attention only to them. (I can’t say what it was like as a female audience member being practically ignored for most of the performance).

    The Anorak is on for only a short time at The Hope Theatre 207 Upper Street in Islington, inside the Hope and Anchor. Tickets available online through offwestend.com

  • THEATRE REVIEW | Daytona, Theatre Royal Haymarket

    ★★★ | Daytona, Theatre Royal Haymarket

    In a recent interview, Maureen Lipman said that this is ‘unquestionably the best role’ of her career and she’s not wrong. Lipman is jaw-droppingly stunning in the strictly limited season of Daytona at the Theatre Royal Haymarket.

    Daytona is an intimate 3-hander show which tells a story of missed opportunities and what-ifs. Without sharing too much, an Elderly Jewish migrant couple Elli (Maureen Lipman) and Joe (Harry Shearer) are living out their twilight years ballroom dancing and going through the motions of a long and seemingly happy marriage. One evening, whilst Elli is getting last-minute alterations to her dancing dress, Joe’s brother, wild-haired and Hawaii shirt wearing, Billy (Oliver Cotton, who also wrote the play), knocks at the door, after a 30-year estrangement. He tells Joe that he has taken drastic action on a man from their past, he believes was a particularly violent and murderous Nazi during the war, whilst on his holiday, in Daytona.

    His regaling of the story takes up the majority of the first half and is longwinded. The true horror of the back-story fails to register fully – as Billy launches into monologues, so long that they had me looking at my watch. It’s not to say that the emotions weren’t there, but the importance and the investment in the story that an audience needs in the characters and their story are lost with the length of time it takes to get there. It felt as though the audience was lost during the swathes of dialogue.

    It’s not until the second act that the story becomes interesting and Lipman’s competence in ruling the stage is truly felt, reminding us of her abilities as a superb and subtle actor. If only it hadn’t taken so long to get there. There is a captivating monologue where Lipman opens up her character to show an emotionally bereft woman who has only just managed to cope with a life that was forced upon her. A romantic attachment, albeit brief, is quite breathtaking.

    Until 23 August. Box office: 020 7930 8800. Venue details: Theatre Royal Haymarket, London http://www.trh.co.uk

  • EVITA is returning to the West End

    Tim Rice and Andrew Lloyd Webber’s EVITA returns to London’s West End for a strictly limited season.

    Opening on Tuesday 16 September at the recently refurbished Dominion Theatre, the musical considered by many to be Andrew Lloyd Webber and Tim Rice’s masterwork will play for 55 performances only in the West End, with musical theatre and pop icon Marti Pellow playing Che, and extraordinarily talented newcomer Madalena Alberto in the title role.

    With more than 20 major awards to its credit, and the Oscar winning film version starring Madonna and Antonio Banderas, Evita has become iconic. It features some of the most memorable and best loved songs in musical theatre, including Don’t Cry For Me Argentina, On This Night of a Thousand Stars, You Must Love Me, and Another Suitcase in Another Hall. Evita charts the story of Eva Peron, wife of former Argentine dictator Juan Peron, from her humble beginnings through to the extraordinary wealth, power and iconic status which ultimately led her to be heralded as the ‘spiritual leader of the nation’.

    Marti Pellow, one of music’s most respected artists, plays Che, a character who reflects the voice of the Argentine people – linked to Eva by destiny; he brings conflict to the story of Eva’s rise to fame. For over 30 years Marti Pellow has enjoyed global success as the lead singer of Wet Wet Wet, as a solo artist, and now as one of the UK’s most acclaimed and respected leading men of musical theatre. Starring roles include The Witches of Eastwick, Chess, Jekyll & Hyde, Chicago and Blood Brothers. As a solo-singer, recording artist and with Wet Wet Wet, Marti Pellow has enjoyed virtually unrivalled chart success, with over 25 hits and three of the UK’s biggest number one singles, including the seminal Love Is All Around. In 2013, after 20 years apart, Wet Wet Wet reunited for a sell-out arena tour.

    Madalena Alberto’s musical theatre credits include the role of Piaf at the Curve Theatre and Fantine in the 25th Anniversary production of Les Misérables. Other roles include Lucy in Jekyll and Hyde, Carmen Diaz in Fame, Sam in Over the Threshold and Sonia in Godspell. The Portuguese singer-songwriter’s first album Don’t Cry For Me will be released to coincide with the opening.

    LISTINGS NEWS:
    ADDRESS – Dominion Theatre, 268-269 Tottenham Court Rd, London W1T 7AQ
    DATES – Tuesday 16 September – Saturday 1 November 2014
    TIMES – Mon – Sat @ 7.45pm, Thu & Sat @ 3pm, Mon 22 Sept @ 7pm
    TICKET PRICES – £25 – £65; Under 16s, £10 off top three prices Mon – Thu & Sat Mat
    BOOKING INFORMATION – www.dominiontheatre.com / 0845 200 7982

  • REVIEW | Deborah Frances-White, Half a Can of Worms

    ★★★★★ | Deborah Frances-White, Half a Can of Worms

    Deborah Frances-White was adopted at ten days old and up until late October 2012 she had no idea who or where her birth family were.

    An extraordinary run of events meant that she was suddenly living as a round the clock internet Nancy Drew, finding out more information every hour about her birth mother, aunts, uncles, grandparents and even possibly half brothers and sisters. What she is learnt was that you can’t open half a can of worms.
    Armed with a cut price private detective, a lot of social media to trawl through and a template of her own distinctive eyebrows, Deborah navigated her way through a family search that would have flummoxed lesser mortals.

    This is a rare feat: narrative stand-up that is warm and moving and very human. The audience is instantly on Deborah’s side and her persona has the room eating out of her hand. She even helped an elderly lady turn off her ringing phone without the slightest hint of irritation. Stand up comedians can be terribly nice as well as being very funny.

    The show is well composed, backed up by well put together film clips and manages to entertain with a ripping yarn as a backdrop. Deborah certainly deserves to have a hit show with this piece.

    Catch the show at the Edinburgh Fringe from the 1st to the 25th of August
    Buy tickets here: https://www.edfringe.com/whats-on/comedy/deborah-frances-white-half-a-can-of-worms

  • THEATRE REVIEW | West Side Story, Sheffield Lyceum And UK Tour

    ★★★★ | West Side Story, Sheffield Lyceum And UK Tour

    Set in the mid 1950s, two rival gangs battle it out for control of their little piece of the Upper West Side of New York. The Jets, local boys whose families have lived there for generations, are at loggerheads with The Sharks, the Puerto Ricans, who are trying to settle into their new lives. Tony, the former leader of the Jets meets with Maria, the sister of Bernardo who is the leader of The Sharks, and the two fall madly in love. But as their love grows, so does the rivalry between the gangs, leading to tragedy.

    This revival of the classic musical, based on Romeo and Juliet, is a thoroughly entertaining piece of theatre. The show has a gritty edge to it and a dark, dramatic and emotional story at its heart. The score, with music by Leonard Bernstein and lyrics by Stephen Sondheim, includes Tonight, Maria and Somewhere, all of which still pack an emotional punch. The mood is lightened by the mischievous Gee Officer Krupkee, the flamboyant America and the whimsical I Feel Pretty, with the whole of the classic score being played beautifully by the live orchestra and expertly sung by the cast.

    Both Louis Maskell, who plays Tony, and Katie Hall as Maria, were in stunning voice, with Hall’s almost operatic qualities complimenting Maskell’s emotion filled vocals. Matthew Hawksley, making his professional debut, stood out from the crowd with his convincing performance as “Action”, comfortably conveying the characters frustration and pent up aggression and Djalenga Scott entertained as the feisty Anita.

    But the ensemble pieces were where this show really excelled, with the set, which reflected the back alleys and fire escapes of the inner city, being deceptively versatile, opening up to create a generous dance space for the large and very talented cast to undertake the breath-taking dance routines. By going back to the original choreography by Jerome Robbins, the dance in this production is simply superb to watch – with the sequences assisting in conveying and moving forward the narrative; the standout scenes being the Mambo at the gym, and the Ballet Sequence.

    The lighting was also well designed, utilising colour washes and silhouettes alongside low level highlighting, providing a visually interesting interplay of light and shadow. The balance between vocals and music was fine – but the only quibble in terms of the production was the volume of the speaking in between the musical numbers was a little low, meaning it was sometimes difficult to hear what was being said.

    The show has everything to please both established fans and to introduce a new generation of theatre goers to this beautifully crafted piece of theatre. Some may find it heavy going, but for those who would like a little more narrative, character and drama from their musical theatre then this show is the one to see.

    West Side Story is currently at the Sheffield Lyceum Theatre until Saturday 12th July 2014 (http://www.sheffieldtheatres.co.uk/event/west-side-story-14/ ) before continuing on its national tour (http://westsidestorytheshow.co.uk/home ).