THEGAYUK

Category: Theatre

  • THEATRE REVIEW | Knee Deep, Riverside Studios

    ★★★★★ | Knee Deep, Riverside Studios

    Following their hit show at the Edinburgh Fringe festival last year, Casus are back with their breathtaking performance of Knee Deep at the Riverside Studios.

    The 4 performers (Emma Serjeant, Jesse Scott, Natano Fa’anana and Lachaln McAulay) are captivating to watch, their bodily strength is truly incredible.

    They use hoops, straps, silks and more amazingly, raw eggs to perform some spectacular circus tricks. The stage is empty and simply lit and your proximity to the performance creates an intimate atmosphere, where every movement absorbs you fully into the action of the piece.

    Its truly awe inspiring to watch and I spent most of the hour agog at the exceptional skills of these performers and their incredible physiques. For me, it’s a must see.

    by Becky Harper

  • THEATRE REVIEW | The History Boys, Sheffield

    ★★★★ | The History Boys, Sheffield

    Based in the fictional Cutlers Grammar School in Sheffield, this award winning play tells the story of a group of young students as they prepare for university interviews at Oxford and Cambridge.

    The headmaster of the school is determined to propel the school up the ranks of the league tables by increasing the number of pupils who are accepted by the prestigious establishments. In his resolve to do so, he enlists a supply teacher called Irwin, whose sole responsibility is to fully prepare the boys by employing a rigid teaching structure and encouraging them to stick strictly to stock answers, whether they believe what they are saying to be true or not. This approach is in stark contrast with that taken by the boy’s favourite teacher, Hector, who is eccentric and laid back, revelling in the joy of knowledge, whilst encouraging the boys in their free thinking and exploration of their own interests, allowing them to forge their own educational path. Unfortunately, one of Hector’s interests is taking the young students out on his motorcycle and touching them up, something that the boys seem to readily accept as harmless fun, but which eventually leads to a confrontation between Hector and the headmaster. As the two teachers and their respective teaching styles clash and the young boys turn into young men, the relationships between the students, both with each other and with the staff, is examined which leads to tension, sexual angst and divided loyalties.

    Sheffield Theatres once again excels, this time with their production of this award winning Alan Bennet play, which has a wordy, warm and witty script. Within its critique of the education system and its social commentary on the almost hierarchical nature of learning, the play also explores, both gently and more blatantly, a number of themes surrounding the often painful transition into adulthood and aspects of accepting and coming to terms with homosexuality and sexuality in general. Posner (beautifully played by Oliver Coopersmith) says at one point “I’m a Jew. I’m small. I’m a homosexual. And I live in Sheffield. I’m f***ed”. This neatly sums up his frustration at his status as the youngest of the class and more importantly, his unrequited and unconditional love for his fellow pupil, Dakin (played by Tom Rhys Harris). Dakin is a cocksure and bravado filled young man, who relishes in his ladies’ man status, yet who develops a deep admiration for and relationship with his teacher, Irwin. This leads to the point where Dakin propositions Irwin and offers himself readily; causing Irwin to face his own closeted sexuality. There is also the darker undertone running through the play of the abuse of position and trust by the teachers, Hector who is touching the boys when he takes them out on his motorcycle (much to Posner’s annoyance that it is never “his turn”) through to the direct confrontation between Dakin and Irwin whereby Irwin’s teaching of the importance, or otherwise, of the truth is challenged.The set made excellent use of the Crucible’s unique stage, effortlessly merging the scenes and creating a real school hall feel, from the parquet gym floor to the strip lighting, the PE benches to the plastic chairs. The play was well directed, ensuring the whole audience felt included and addressed. The performances were all of a very high quality, especially from Edwin Thomas who excelled as Irwin in what is his professional stage debut. Matthew Kelly undertook his role of Hector with a quiet confidence, but his performance was overtaken by the lead boys, namely Will Featherstone as Scripps, Tom Rhys Harris as Dakin and Oliver Coopersmith expertly demonstrating the teenage angst of burgeoning sexuality.The play was scattered with bridging sequences for the set changes, which involved short, loud blasts of electro new romantic and punk music accompanied by over exaggerated schoolboy dancing. These segments which sharply transported you back to your own school days were entertaining and nicely contrasted with calmer, more classic aspects of the script. The script was wordy, with long soliloquies delivered by the characters, but was punctuated with warm and gentle comedy delivered by likeable characters. The play was slightly long for me (perhaps it could have been around 20 minutes shorter), but this is not a criticism of the production in any way and more a reflection on the type of theatre I prefer. Overall, it was exceptionally well performed, staged and presented and was a memory invoking, through provoking piece of quasi-nostalgia tinged theatre which tackles head on a number of social issues within the education system.

    The History Boys is currently at the Crucible Theatre, Sheffield until the 8th June 2013.

  • THEATRE REVIEW | Noises Off, National Tour

    ★★★★ | Noises Off, National Tour

    If someone had told me that I would sit through the first act of the same play three times in the same evening and actually enjoy it, I thought I would be laughing at them, not with them.

    But this cleverly written play, produced for this national tour by The Old Vic Theatre, amounted to a hilarious and thoroughly entertaining evening at the theatre.

    In Michael Frayn’s classic comedy, a group of actors initially find themselves rehearsing Act One of a play, “Nothing On” in the small frantic hours before the opening night of a regional tour. Nothing is ready, the cast don’t know their lines, there is a significant problem with the sardines and the director, Lloyd Dallas, is becoming increasingly agitated and frustrated at the lack of progress. The relationships between the actors become strained when their backstage shenanigans start to interfere with their professional integrity.

    Fast forward to the middle of the tour. Life on the road is taking its toll on the company and what we see is the view from backstage, as the cast perform Act One of “Nothing On” to an eager audience of pensioners and as jealously, rivalry and a quickly disappearing bottle of whiskey backstage all contribute to the sabotaging of each other’s performances whilst keeping the ‘noises off’ the main stage.

    The final scene is once again viewed from the auditorium, where the cast, on the last performance of the tour, perform Act One of “Nothing On” with a complete lack of enthusiasm, damaged props, an almost total disregard of the script and a ridiculous amount of improvisation as the performance spirals out of control.This incredibly cleverly written play was great fun. The first act centred on the rehearsal of a play within the play. The audience were treated to watching and engaging in the story and characters of the fictional play being rehearsed, which was actually a funny and traditional farce, with a story you could follow, plenty of well-timed entrances and exits and which was very much in keeping with the spirit of the genre. However, the parallel narrative of the lives, loves and inabilities of the cast and crew was equally engaging and sharply written. The interchange between the two stories was seamless as the audience switched between the two narratives with ease. Utilising the theatre as part of the set (by having the director try his best to control the stage from amongst the audience in the stalls) was a brilliant move, as it really drew in the audience, making them feel like part of the company.

    The backstage section was absolute comic genius and it is almost worth seeing the play for this section alone. This part of the play was virtually silent, as the now familiar story of “Nothing On” was being performed on stage whilst the company was falling apart off stage. The cast appeared and disappeared through various doors as the play continued whilst the crew physically fought, tied each other’s shoelaces together, hid items from each other and join forces to prevent one cast member from getting drunk. What followed was 30 minutes of simply brilliant, fast paced and perfectly directed and choreographed physical comedy. It was clear that the cast (and the director, Lindsay Posner) had worked very hard to achieve such impeccable comic timing and it was one of the finest pieces of stage comedy I have seen in a long time.

    The final section transported the audience back to sitting in front of the stage, where at the end of the run, the company and the play is falling apart. Wobbly scenery, failing props and stage fatigue all contribute to the increasingly crumbling performance. Whilst this section was enjoyable, it was here, where, after such an impressive second act, the final act paled slightly and the joke started to stretch a little compared to what had come before it, but to be fair, the second part was a very difficult act to follow.

    The cast were all first-rate, and as previously mentioned, had clearly worked incredibly hard to perform as they did. Neil Pearson was excellent as Lloyd Dallas, the frustrated director. You could feel his pain as he tried desperately to hold things together just before opening night. Maureen Beattie’s turn as Dotty Otley was also a particular pleasure. Her character could almost be a forerunner for Mrs Overall in Acorn Antiques or Mrs Doyle in Father Ted and not only was Beattie’s stage presence noticeable; her comic performance was on a par with Julie Walters performance as the aforementioned Mrs O. The very handsome Simon Bubb put in an incredibly good performance as the hapless and downtrodden Tim, a stagehand, understudy and general dogsbody. Bubb subtly generated a character that you couldn’t help but easily warm to and empathise with. The remaining cast were all incredibly good and there was no weak link in them, each of them, in their own way, deserving a specific mention. The relatively simple set was well utilised and the play as a whole had a good balance between sharp yet warm writing, likeable characters and hysterical physical comedy.

    The show was written in 1982 yet didn’t feel dated at all, giving off a real feel of a mixture of both the early Channel 4 (slightly anarchic) comedies such as “The Comic Strip” coupled with the charm of the 70’s sitcoms such as The Good Life, George and Mildred and Some Mother’s Do ‘Ave ‘Em. Noises Off had an infectious, almost naive allure which was positively delightful.
    Noises Off is currently playing at the Sheffield Lyceum Theatre before continuing its national tour.

  • THEATRE REVIEW | Bare The Rock Musical, The Union Theatre

    After seeing several of director Paul Taylor Mills’ previous productions, I thought I knew what to expect from bare: the rock musical, but I was genuinely swept away by this fresh and dynamic tale of teenage love and angst.

    An exquisitely sexy musical with an extremely talented and equally alluring cast, I laughed and cried with the characters as every emotion is played out in front of us. Heartstrings were tugged in every direction, whilst my every sense tingled with the visual and aural treats of this vibrant production.

    Written by Jon Hartmere and Damon Intrabartolo, bare tells the story of a group of teenagers at a Catholic boarding school discovering love and, by default, themselves. Told with such absolute warmth, the audience is provided an extremely intimate view into the lives of these youngsters. There are some beautifully tender moments in amongst the lively, fast-paced action and I can’t remember the last time I felt so emotionally invested in a show and its characters. Scenes of real heartbreak are gently softened with an expert use of humour, providing not just relief but also some genuine laugh-out-loud moments.

    Jason (Ross William Wild) and Peter (Michael Vinsen) are in a clandestine relationship, as rocky as it is secret. As they are pulled apart, Ivy (Lilly-Jane Young) is quick to take advantage of Jason’s newly single status which breaks Matt’s (Dale Evans) heart and angers Nadia (Melanie Greaney), all set against the backdrop of rehearsals for the school production of Romeo and Juliet. Confused? This is the tangled web that is brilliantly interplayed in this highly emotional rollercoaster as we watch relationships and, indeed, lives torn apart. Throw in a steadfastly conservative mother (Yvette Robinson) who refuses to allow her son to come out (even to her), a possibly-closeted priest (Matt Harrop) and a strict Sister with a sideline in sass (Hannah Levane), and you get the picture.

    Will Burton’s casting is beyond superb on this production. The leads are exceptional and supported by a hugely talented ensemble. I was particularly struck by the sensitivity between Wild’s Jason and Vinsen’s Peter – so touching it is very easy to see the love between the two characters.

    Ross William Wild is captivating and his brilliant eyes tell every emotion Jason feels, a detail rarely seen so honestly portrayed. Michael Vinsen is equally expressive and particularly skilful at using his voice to convey emotion.

    Other notable performances came from Lilly-Jane Young and Dale Evans. Ivy’s vulnerability and longing is visible throughout but never more so than during her solo number, All Grown Up. Her handling of some particularly tough scenes displays a sensitivity and grace far beyond her years. Her suitor is portrayed beautifully and intelligently by Evans with Matt’s desperation for Ivy’s attention clearly visible.

    Jason’s sister, the larger than life Nadia is played expertly and utterly believable by Melanie Greaney, who is an absolute pleasure to watch and listen to. It’s difficult to comprehend that this is Greaney’s professional debut with the strength and skill she so visibly exhibits here. Indeed, for many of the cast, bare marks their professional debut – and what a debut it is!

    The outstanding performance of the night though has to go to Hannah Levane’s fabulously feisty Sister Chantelle. With a strong, powerful voice that is bang on the note, it was a rare and exquisite privilege to hear her so close.

    The intensely beautiful score is complemented perfectly by Racky Plews’ tight choreography, which is perfectly executed throughout.

    Paul Taylor Mills’ vision is, as always, thoroughly engaging and enlightening. It’s rare to come out of a show feeling so wholly fulfilled. Without a doubt, bare is one of the very best things on the London stage at the moment and, if you don’t see this production, you’re missing out on something very special indeed.

    bare: the rock musical plays at the Union Theatre, Southwark until 25 May. Tickets are currently sold out, but it is very definitely worth checking the website regularly and asking the venue for returns.

     

    http://www.uniontheatre.biz/#/bare-the-rock-musical/4574150801

  • THEATRE REVIEW | Desperately Seeking The Exit, Leicester Square Theatre

    How do you turn one of the West End’s biggest flops into a success? Turn its story into a 70 minute hilarious monologue, of course! And that is exactly what writer Peter Michael Marino has bravely done here.

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  • THEATRE REVIEW | The Kite Runner, Nottingham Playhouse

    ★★★ | The Kite Runner

    Set against the complex backdrop of a 1970s Afghanistan in upheaval and later 1980’s Los Angeles, the story – narrated by an adult Amir who jumps in and out of the action – is of two young boys Amir and Hassan whose friendship is complicated by racial inequality and servitude.

    The boys are united through kite running competitions but a nasty incident and an act of cowardice tear the two apart.

    Wide in scope, heavy in emotion: The Kite Runner’s story is where its strengths lie but with Khaled Hosseini’s bestselling book and the film already available is this the best medium for it? The Kite Runner suffers in translation from text to stage due to its reliance on narration. The story is arguably too unwieldy to be dealt with in any other way but this is a story of human relationships and powerful emotions and too often I wanted to be shown instead of told. As a result the stage regularly appeared empty, lacking dynamism and I felt distanced from a story that had the potential to wrestle me to the ground.

    Credit to Ben Turner though, who was present on stage through the whole piece, switching as he does between the narrative voice and on-stage persona of Amir. Sadly though, I was never blown away; his American accent jarred and when playing the younger Amir I felt he went too young for the role, verging on childish caricature. Turner performed competently but never quite gripped. The supporting cast impressed though, including Farshid Rokey playing the childhood friend Hassan. Rokey again played it too young but was more convincing and I believed his unwavering loyalty. Emilio Doorgasingh as the father doesn’t quite fit the role of domineering patriarch in stature and voice but I felt his conflicted emotions and his frustration and he won my affection. Special mention goes to the on stage percussion – a nice touch that added a layer of energy to the performance and it seemed to me that as the curtain fell it was the percussionist that enjoyed the loudest applause.

    Simple but effective set design – minimal props and projection – allowed for quick and efficient set changes that let the story flow. The animated hand drawings of childhood and misshapen comic book skyline of Los Angeles added a sense of magic and warmth to what was often a heavy story.

    If this is the Playhouse’s centre-piece for the coming season then ultimately I was a little disappointed. It didn’t drag but it didn’t grab. Its strength is in its source material and this was source material I was familiar with; on stage I was hoping for something a little different, a little more dynamic.

    The Kite Runner is on until the 18th of May.

    Book here:http://www.nottinghamplayhouse.co.uk/whats-on/drama/the-kite-runner

  • RIP | Viva Forever to close in June

    West End Musical Viva Forever is set to close at the end of June

    In a statement from the producers of Viva Forever:

    Producer Judy Craymer announced that VIVA FOREVER! the new musical, inspired by the songs of the Spice Girls, has posted closing notice at the Piccadilly Theatre for 29 June, 2013. Anyone wanting to join in the fun is urged to book tickets now and get down to the Piccadilly Theatre in the next eight weeks for a fabulous, feel-good night out.

    In a press statement issued this morning, Ms CRAYMER, said

    “It is with a heavy heart that we’ve had to make this very difficult decision to post closing notices for this original show which is blessed with one of the most brilliant casts currently on the West End stage. We set out to create a contemporary story that truly reflects our time; to take a satirical look at the underbelly of a TV Talent show and the chaos that ensues for a mother, her daughter and their friends, a theatrical event to embrace all generations both on and off the stage. Testament to that achievement is the standing ovation at every performance from an audience of families and friends all enjoying a great night out. The show has evolved since we first opened and is now brighter, lighter and funnier, but despite the wonderful audiences and extremely positive feedback we just can’t make it work. I’m so proud of everyone involved in this production. VIVA FOREVER! may be taking it’s leave for now in the West End but the legacy of Spice Girls will never fade.”

    Writer Jennifer Saunders added:

    “It is disappointing the show is to close. I am particularly sad for the cast and crew that have worked so hard to produce a wonderful show.”

    The Spice Girls said

    “We want to thank the cast and all the fans for their support, and although Viva Forever won’t continue in the West End we are thrilled that the thousands of people who came to the show had as much fun as we did.”

    VIVA FOREVER! is a feel-good musical comedy with a book by Jennifer Saunders inspired by the music of the SPICE GIRLS. Charting the trials and tribulations of wannabe girlband Eternity, the musical tells an original story as it hurls the audience headfirst into the final rounds of TV talent show Starmaker, where a panel of fame vultures passes judgment on our wannabe heroines while desperately clinging to the limelight themselves.

    VIVA FOREVER! is directed by Paul Garrington and choreographed by Lynne Page. The production is designed by Peter McKintosh, with lighting design by Howard Harrison, sound design by Bobby Aitken and musical orchestration by Martin Koch.

    VIVA FOREVER! is produced by Judy Craymer in association with the Spice Girls, Simon Fuller and Universal Music.

    Tickets for VIVA FOREVER! are available until 29 June 2013

  • THEATRE REVIEW | Californian Lives

    Issues surrounding love and trust are often explored in a variety of ways, but this powerful and original production written by Martin Foreman and directed by Emma King-Farlow has brought something entirely new to the table. A series of three monologues, Californian Liveslooks at what it really means to three very different characters living three very different lives.

    In the first piece, Los Feliz, performed intensely but very well by Robin Holden, a young man falls in love with a beautiful woman and concocts an entirely fictional life in order to get close to her. As he weaves his tale, the initially unlikeable character reveals his insecurities and gradually draws the audience closer to him. Holden commands the stage extremely well and holds the audience’s attention throughout; something that is inherently difficult in a monologue.

    Ben and Joe’s is a look into the lives of a group of mostly middle-aged men who while away their afternoons in a San Fernando Valley bar, united in their lust for the young barman who flirts expertly with each of them. A new arrival, Christopher, shakes their easy existence and causes a rift between the men as each of them is forced to confront their own prejudices. This difficult subject is delivered expertly by John Vernon who held the audience captivated throughout his performance.

    Finally, the evergreen treat that is Carolyn Listerbrought an instant warmth and dose of humour to Sunset with her portrayal of a grandmother reminiscing to her husband on the long life they have shared together, with its succession of highs and lows. On the surface, her story is one of a very traditional marriage, but this is soon revealed to be a somewhat thin veneer as this apparently timid character reveals a strength and resilience initially unseen.

    Californian Lives is no light-hearted feel-good piece, and not one for the faint-hearted. It is, however, exactly the kind of emotionally-charged and thought-provoking theatre that we need to see more of in this age of Disney-esque expectations.

    Californian Lives plays at the King’s Head Theatre, Islington on Sundays and Mondays until 26 May. Tickets £11.50 – £20 from the King’s Head website.

  • THEATRE REVIEW | Children Of The Sun

    ★★★ | Children Of The Sun

    A Maxim Gorky classic play, adapted by Andrew Upton, is a deep and philosophically driven piece set during a cholera epidemic, which works on many significant levels.

    On the surface its comedic approach could be mistaken as a light hearted play, but below the surface lies a distinct feeling of danger – a narrative of fear which is explored through many conversations.

    Protasov is longing to find the answer to all of life’s mysteries through scientific experimentation and research. He believes that the quest of life will be answered through science so he becomes immersed in his own ignorance; failing to acknowledge the significance of what is happening around him.

    There is a superb collective of talent in this adaptation, with strong gestural performances and moments of intensity which breaks up the performance, constantly focussing it back to the deeper questions.

    The stage set is the perfect backbone to the story, with a commendable attention to detail and realistic nature which helps one to engage on an additional level. Indeed the National Theatre is one of my all time favourite destinations, with its strong Brutalist architecture just asking for performance and drama. This is exactly what is delivered with ‘Children of the Sun’. A though-provoking and engaging play, highly recommended.

    Treat yourself to some theatre this month at the National Theatre. Tickets range from £12-34 and Children of the Sun is on until Sunday 14th July 2013.

    www.nationaltheatre.org.uk

  • THEATRE REVIEW | Untold Stories

    ★★★★★ Untold Stories | Master of his craft Alex Jennings exuberantly brings Alan Bennett’s autobiographical theatre production ‘Untold Stories’ to life in two warm and masterful accounts entitled ‘Hymn’ and ‘Cocktail Sticks’.

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  • THEATRE REVIEW | BalletBoyz: The Talent 2013

    ★★★★

    The BalletBoyz have been going from strength to strength since they were formed by Michael Nunn and Billy Trevitt in 2001 following their breakaway from the Royal Ballet. The original remit was to make ballet more accessible and to bring challenging new works to theatres where dance was rarely seen.

    The company have certainly more than achieved their original goal and the diversity of the audience and the overwhelming cheers and applause at the end of the evening certainly prove that their latest show is a popular hit.

    The company of ten young male dancers are from diverse backgrounds and have varying levels of experience and differing skill sets. There’s a boyish French dancer who looks like he’s stepped straight from a Euro twink porn film, a beefy French dancer who would fit in easily in a Triga DVD and an assorted company of hot British boys showing off their biceps, tattoos and toned physiques. One thing they all have in common is their hard abs and rippling musculature which is particularly evident in the first piece, ‘Serpent’, choreographed by Liam Scarlett. The company are all topless dressed in skin tight Lycra which reveals every taut curve and shows off their amazing buttocks to full effect.

    The dances? I almost forgot about those. I was too busy with lechery. The two contrasting pieces are both beautifully choreographed with the challenge of using only male dancers being met fully. ‘Serpent’ uses the dancers to full effect in a fluid display of masculinity, whilst ‘Fallen’ (choreographed by Russell Maliphant) is a more brutal and altogether harder piece which utilises their gymnastic skills, mixed in with ballet and contemporary dance moves. The lighting and music combine to showcase the two pieces and add to the atmosphere.

    The show is definitely very accessible and easy on the eye. The audience in Leicester seemed to be having a fantastic time, judging by the riotous applause at the end of the evening. Whether you love dance, are new to dance or just like to sit and watch a troupe of ten young showing off their buff torsos, the show is well worth checking out.

    The show continues from the 21st of March at The Cambridge Arts Theatre

    Check out the rest of the dates (and the dancers) here:http://www.balletboyz.com