THEGAYUK

Category: Theatre

  • THEATRE REVIEW | Priscilla Queen Of The Desert, Sheffield Lyceum and National Tour

    Three drag queens “unplug their curling wands and go bush” to travel across the outback en route to a show in a casino in Alice Springs. Along the way, they bitch, bicker and laugh their way across the dessert, and continuously ensure that they are looking their best whilst “dressing up in women’s clothing and mouthing the words to other people’s songs”.

    Tick (Noel Sullivan), Bernadette (Richard Grieve) and Adam (Graham Weaver) buy a budget Barbie camper; christen it Priscilla and head into the outback to perform a show at a casino run by Tick’s wife in Alice Springs. Stopping off along the way, the trio make friends, get themselves into trouble, fall in love, strengthen their friendship and following the bus breaking down, pick up mechanic Bill who leaves his wife (who has an extraordinary talent which she shows off in the local pub) as they head to the middle of nowhere for the show of their life.

    Based on the film of the same name, this stage musical was excellent fun. Following the story of the film fairly closely (albeit it with some minor changes) it was a show which is unashamedly flamboyant. The show uses a combination of camp disco classics, opening with “It’s Raining Men” and including “I Will Survive”, “I Love the Nightlife”, “Go West” and “Finally”, which meant that the whole audience were clapping, cheering and laughing from the moment the curtain went up.

    In terms of the cast, Noel Sullivan (who is perhaps best known for being a member of “Hear’say”) was functional as Tick, but played the part with a little bit too much camp, watering down the interplay between the straight laced Tick and outrageous Adam. Richard Grieve was much better than expected as Bernadette. But Graham Weaver stood out with an enjoyable performance as Adam/Felicia. The supporting cast were, as you would expect, ludicrously attractive and beautifully toned and threw themselves into the musical numbers with energy and gusto.

    The whole thing was colourful, exuberant and thoroughly entertaining with a cleverly designed set (with the bus on stage) and a sharp, funny script with all of the characters that you know and love from the film. But where the show really came into its own was in the musical numbers, taking some from the film and some new ones introduced for the show, the routines were over the top, bold, brassy and ballsy, with costumes to match. The enthusiasm of the cast was clear and it was abundantly obvious that they were enjoying themselves as much as the audience.

    The costumes in themselves are worthy of a mention. Some were recreated from the film (flip flop dress, anyone?) and the others just added to the campness of the proceedings. Everything from dancing paintbrushes to dancing birthday cakes, hicks, lizards, Marie Antoinette’s, Ostriches and scantily clad, leather wearing dancers were all on stage in a dazzling spectacular.

    The only downside of this production was that the music was a little loud over the vocals on the odd occasion, but these are very minor quibbles when the show was as much fun as it was.

    The show is one which is perhaps best seen on a Friday or Saturday evening. Its two hour running time quite literally flew by with the whole thing never really slows down. Overall, this was a really great, fun show and a piece of feel-good, uplifting and ultimately heart-warming theatre which has its tongue firmly lodged in its cheek. It’s a real feast for the eyes, the ears, the heart, the soul and the funny bone.

    Priscilla Queen of the Desert is currently at Sheffield Lyceum theatre

  • THEATRE FEATURE: From Russia, With Love

    A theatrical fundraiser which aims to tackle homophobia in Russian is to take place on Sunday 27th October 2013.

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  • COMEDY REVIEW | In The Midst Of Crackers

    On a journey through debauchery; silliness and hypocrisy, Reginald D. Hunter explores themes of human nature and the intrinsic nuances which make up our cultural world.

    In, In The Midst of Crackers, Hunter takes a more introspective and confessional approach to respond to the controversies which have surrounded his work and, in particular, his choice of language, by demonstrating the hypocrisies which exist hidden behind euphemism, within society.

    Exploring themes of Race; Sex and Relationships through, often, long philosophical ramblings whose only punchline seems to emerge from the need for a release from the awkward tension that has arisen, Hunter poses some difficult questions with a remarkable ability to silence his audience completely, before raising them into a fit of giggle fury.

    The more personal material presented through the discussion of relationships and, in particular, Hunters confessions of cheating on former girlfriends, leaves a slightly awkward and unsympathetic taste, despite the intellectual repartee with which the anecdote is staged, and leaves you feeling a little like you’re sat in the pub with a group of Blokes and a sign outside reading “Beer as cold as your ex-girlfriend’s heart”

    He has an ability to frame a discussion of some merit in rapturous silliness, drawing the audience in with philosophical smarts which endeavour to highlight and often shame the inequalities, hypocrisies and injustices of life and then ending on a butt joke. An altogether whimsy which just goes to show that life is really silly sometimes and so are the inequalities in it.

    The overall tone of the show is one of confession, as Hunter aims to respond to critique; controversy and personal failings, where he is more often than not painted as the “Bad Guy”.

    It is a show that, in its best moments, explores society with philosophical vigour and great intellect leaving the audience in a limbo of perplexing morality and a “whatever” giggle. At times, however, it feels lacking in clarity perhaps, as simply because; life, in itself, is lacking in the very clarity which Hunter aims to examine.

  • THEATRE REVIEW | Roots

    ★★★★ |Roots by Arnold Wesker, Donmar Warehouse

    It’s 1958 and Beatie Bryant has been living in London with Ronnie, a young socialist full of ideas and ideals. As she anxiously awaits his arrival to meet her family for the first time at their Norfolk farm, her head is swimming with new concepts of a bolder, freer world enhanced by politics, art and music, not caring that her views promise to clash with their traditional rural way of life.

    Roots is the centrepiece of Arnold Wesker’s classic post-war trilogy of plays and in spite of being over 50 years since its first staging, still carries a strong and pertinent message today in a world where apathy and mediocrity still abound.

    The play is naturalistic and heavy on dialogue but the inherent humour of the situation and characters lightens the tone enough to make it a thoroughly enjoyable piece to watch. The characters interact as they perform a background of daily chores such as cooking, cleaning and bathing, all punctuated by their exchanges which are spoken in broad Norfolk accents and dialect.

    Beatie is played by the beautiful and very talented Jessica Raine (Call the Midwife) who manages to convey her naivety, exuberance and vulnerability along with her optimism as she hopefully anticipates a new world emerging. Raine is supported by a strong cast, particularly the magnificent Linda Bassett and Ian Gelder who play her taciturn and complacent parents with great dramatic and comic effect. The contentment of a family happy to live in their rural world, never questioning their routine and allotted roles, is subtly built up as the play slowly burns towards a dramatic finale.

    Director James Macdonald has created a flawless piece that proves that classic drama can be performed to great effect and made fresh and challenging, provided it is performed and staged well. This is an excellent production that is well worth viewing if you don’t know the play or worth revisiting if it’s a familiar piece to you.

    Roots is on until the 30th of November 2013

    Book tickets here: Roots

  • THEATRE REVIEW | The Picture of Dorian Gray at Dorian Gray’s Townhouse

    ★★★★ | The Picture of Dorian Gray at Dorian Gray’s Townhouse

    Staged in a Georgian townhouse in Greenwich “modernised” to suit a wealthy Victorian resident, The Alchemist Order have presented an exciting and innovative production of this classic Oscar Wilde play.

    For those that don’t know the story, The Picture of Dorian Gray is the tale of a young man who trades his soul for eternal youth and beauty. As he lives a life of hedonism and decadence, a portrait painted of him as a young man ages in his place. Often cited as one of the finest examples of Gothic literature, The Picture of Dorian Gray is exquisitely dark but peppered with Wilde’s trademark wit.

    Dorian, played by the brilliant Mia Hawk, is both innocent and debauched, and Hawk conveys both with conviction. Although momentarily distracting that he is played by a female, the combination of great acting, inventive staging and clever writing soon forgives this. Chatting to the cast after the performance, I learned that Mia had less than a week to rehearse this role following an injury to the original actor, which makes her portrayal of this complex character all the more impressive.

    Samuel Orange, Creative Director of The Alchemist Order, plays Lord Henry Wotton utterly convincingly and has a natural ability to hold a stage, in even the most intimate of spaces. The interplay between Lord Henry and Dorian strikes just the right balance of tension and allure. Similarly notable is Jonathan Redfern, playing Basil Hallward, who brings a somewhat mesmerising flair to his role and is completely believable as the tortured artist.

    An outstanding highlight for me, though, is the fantastic Louise Larchbourne, whose Mrs Leaf is thoroughly engaging, and carries just the right balance of servitude and mastery appropriate for her role. From the moment one steps through the door into Mr Gray’s salon, all through the interval and right through to the time you leave, Larchbourne remains perfectly in character, entertaining and serving guests with a respectful wit.

    This is the inaugural production of The Alchemic Order, and if it is any indication of what is to come, the future of creative and imaginative theatre is very, very secure.

    THE PICTURE OF DORIAN GRAY plays at Dorian Gray’s Townhouse, 2 minutes’ walk from Greenwich station (exact address revealed upon booking) Tues – Sat until 28 September. Tickets are £35 (£25 on Tues) from www.thealchemicorder.com

  • THEATRE REVIEW | A Life Backwards (The Crucible Theatre, Sheffield)

    ★★★★★ | A Life Backwards (The Crucible Theatre, Sheffield)

    After meeting at a protest to support two homeless charity workers, Alexander (played by Will Adamsdale) and Stuart (played by Fraser Ayres) develop an unlikely bond. Stuart becomes intrinsic in the organisation of Alexander’s public campaign and the two men find they have much more in common than they ever thought they would. But for Stuart, who suffers from muscular dystrophy, the reality of life on the streets is never far away and his psychological problems gradually get the better of him as his physical and mental health start to deteriorate. Alexander, who had promised Stuart that he would write a biography that Stuart’s son would want to read, starts to speak to those who knew Stuart growing up. He uncovers a troubled past for Stuart, and starts to understand the impact and implications of Stuart’s family, schooling and disability.

    Based on the biography of the same name, which chronicles the true life story of Stuart Shorter, this play was an outstanding piece of theatre. The intelligent writing of the piece shone through, having the audience laughing out loud one moment and sitting with teary eyes hanging on every word uttered the next. The unravelling of Stuart’s life was beautifully written; with the latter half of the play deconstructing the complex character it had so carefully crafted in the first half. Stuart is portrayed as likeable, funny, resilient and sensitive, yet at the same time violent, volatile, unpredictable and unstable. The script itself was, in equal parts, genuinely funny, moving, warm, touching and upsetting as you learn who Stuart really is and you are left wondering whether you should or shouldn’t actually like him.

    The acting in the play was of a very high standard all round with the minimal cast drawing in the audience with their performances, meaning that you could feel definite shifts in the atmosphere of the studio theatre as everyone became absorbed in the story.

    But undoubtedly, the primary focus was on Fraser Ayres, who gave one of the best performances I have seen in the theatre for many years with his exceptional portrayal of Stuart. His convincing, sensitive and genuine performance of a man tormented by his inner demons and his failing body was quite frankly brilliant, moving, accurate and wholly believable.

    The setting of the Studio Theatre, an intimate performance space at Sheffield Theatres, only added to the total immersion in the play. The production values were basic with a very simple, but astutely utilised, scaffolding set, but the real draw here is the story, performances and emotions of the piece.

    This extraordinary play, produced by Sheffield Theatres and High Tide Festival Theatre is an outstanding piece of work. It was wholly engrossing in terms of its performance, writing and characters and left the audience feeling as though they had been through the full spectrum of emotions with the characters on stage. The thought provoking nature of the play was perfectly balanced with the soul, warmth and humour that punctuates it and provided an incredible opening to Sheffield Theatre’s autumn season. A must see.

    Stuart – A Life backwards is currently playing at the Crucible Theatre, Sheffield until the 28th September 2013. Details can be found at http://www.sheffieldtheatres.co.uk

  • THEATRE REVIEW | Bourgeois And Maurice At The Soho Theatre

    You know those occasions when you meet your mates in town for a drink after work. It gets to about 9 and you think it might be nice to round off the evening in some way.

    Well instead of heading to your local kebab house, why not nip down to the Soho Theatre for a bit of cabaret, where you can catch one of the final performances of Sugartits, by the award-winning duo Bourgeois and Maurice? It would be a great way to round off a convivial evening with friends.

    And convivial, for the most part, is what this cabaret is. The duo delivers a selection of self-penned songs, covering a range of contemporary topics, such as tax, internet junkies and the homogenisation of our town centres (an “improvised” song about Birmingham could be about any town in the UK, which is actually the point). However, though engaging and entertaining, it’s not quite as hard hitting as they’d like to think, pandering, as it does, to middle-class Liberal sensibilities. I felt it could have done with a set of sharper teeth.

    That said, I could hardly fault the performances of the duo, who are the perfect foil for each other. Bourgeois, looking rather like a cross between the Divine David and the MC from Cabare, (I loved the Putin decorated jumpsuit he changed into half way through) delivers his songs and linking dialogue with a sardonically laconic wit, whilst Maurice, sporting a 60’s beehive, which would be the envy of Marge Simpson, has an engaging goofiness, and a rare talent at the keyboard. I particularly enjoyed her surreal attempt to tell a joke, in the manner of Michael McIntyre.

    Certainly, worth a trip, you can catch the show at the Soho Theatre Downstairs until September 21st.

  • THEATRE REVIEW | The Speed Twins, Riverside Studios

    This warm tale of love and last chances weaves together three very different characters as they are brought together in the afterlife bar, Dyke Heaven.

    Queenie, a 60-something year old ex-beauty queen, has spent her life making what she feels are the right choices by society’s norms and so is very surprised to be spending her afterlife in a lesbian bar. Polly Hemingway is wonderfully expressive and brings a warmth and softness to her character that could easily be lost beneath the difficult choices she has had to make.

    Ollie, on the other hand, is a Beryl Reid / Oliver Hardy hybrid (harking back to the days when lesbians were forced into the butch-femme role-play that is still too-often perceived as their only reality) and has lived her life true to her desires. Amanda Boxer is entirely convincing, and delivers her witty one-liners with excellent comic timing. Ollie is delighted to be in Dyke Heaven as it is so very reminiscent of the Gateways Club, a popular lesbian bar in Chelsea made famous by the 1969 film The Killing of Sister George (in which Beryl Reid dresses as Oliver Hardy). Indeed, several references to this movie are made throughout the play – both explicitly and implied.

    The arrival of Mia Mackie’s Shirley to the bar causes something of a stir. Queenie flits from rages of wild jealousy to blank-faced denial, while Ollie jumps from lustful to intrigued and back again. Mackie brings forward some very difficult emotions and handles the complicated character with skill.

    Overall, Maureen Chadwick has written a piece that is dark but tender, and infused with warmth and gentle humour throughout.

    The Speed Twins plays at the Riverside Studios, Hammersmith until 28 September. Tickets are £22.50 (£15 conc.) from http://www.riversidestudios.co.uk/cgi-bin/page.pl?l=1370426957

  • THEATRE REVIEW | The Confessions Of Gordon Brown, Trafalgar Studios

    ★★★★ |The Confessions Of Gordon Brown, Trafalgar Studios

    Fresh from the Edinburgh fringe, this hit one man show has transferred to the prestigious Trafalgar Studios in London.

    This satirical look at the reign of Gordon Brown as leader of the Labour party is both laugh out loud and moving in equal parts. Written by Emmy award winning Kevin Toolis, the script swiftly moves between discussion of Brown the public figure and Brown the man.

    Ian Grieve (a remarkable likeness of the man himself) gives a strong, grounded performance, getting the audience onside and empathising with one of the most well known faces in British politics.The script reaches deep into the soul of the character, and one can only wonder what those close to Brown, and the man himself, would make of the writers interpretation of his character.

    Until 28th September,7.45pm daily

    http://www.atgtickets.com/shows/the-confessions-of-gordon-brown/trafalgar-studios/#overview_tab

    Twitter @GordonConfesses

  • THEATRE REVIEW: Gotta Sing, Gotta Dance, UK TOUR

    ★★★★ So much more than the title suggests, Gotta Sing Gotta Dance is a true celebration of musical theatre at its very best.

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  • THEATRE REVIEW | Liza, Liza, Liza at The Tabard Theatre, London

    ★★★★ | Liza, Liza, Liza at The Tabard Theatre, London

    Meine Damen und Herren, Mesdames et Messieurs, Ladies and Gentleman! I bring you not one, not two but three Liza Minnellis, all on one small stage for your delight and delectation.

    Acclaimed stage and screen writer Richard Harris (Outside Edge, Stepping Out) has penned a brilliant new play which is a tribute, a raucous examination and a celebration of all things Ms Minnelli. More than that, it’s also a reflection on what it is to be human in a mad world and although we may not all be from such stellar circles as Liza, there’s much to identify with.

    The set is glitzy and bright with a giant ‘Liza!’ sprawling across it, partly obscuring the piano and dashing pianist and on limps Liza, post hip replacement with a cane. Within seconds the audience is rapt as she wisecracks her way to the chaise longue. The play cleverly combines three incarnations of Liza: Firstly, the gauche and enthusiastic teenager trying hard to make her mark on a world ready to judge her against her mother and balance a home life mad enough to drive a nun to blasphemy. Secondly: the chain smoking ‘middle’ Liza hurtling into a self destructive spiral of drink, drugs and unsuitable men as her career both soars and plummets and finally: the older wiser and more cynical Liza who’s more than able to laugh at herself and her own foibles and failings. Oh what a dirty laugh it is too. All these Lizas are of course, overshadowed by the dominating influence of Judy Garland who begins the play shouting through from a dressing table at the back of the stage.

    Multiple lovers and failed marriages, battles with weight, booze, pills and depression: it’s not hard to see what it is that gay men seem to feel such an affinity with her about. What Harris and the fantastic cast of three actresses manage to do is to present a life story that contains no self pity, plenty of humour and a hell of a lot of spirit. There are killer one liners, great vocal performances (but not too many; it’s not a musical) and some very credible acting that rises above being just cheap impersonations. The three actresses all manage to own the stage, which is a feat in itself.

    Liza, Liza Liza runs until the 29th of September

    Buy tickets here: http://www.tabardweb.co.uk/liza