THEGAYUK

Category: Review

  • FILM REVIEW | Irrational Man

    Irrational Man | ★★★

    Woody Allen’s 47th film, ‘Irrational Man’, sticks to several themes he’s already explored in a few of his previous films, and is not one of his best.

    An older man being pursued by a younger woman is a plot device that Allen has presented to us many times before (Magic in the Moonlight and You Will Meet a Tall Dark Stranger). In Irrational Man, Joaquin Phoenix plays pot-bellied depressed middle age philosophy professor Abe Lucas (Joaquin Phoenix).

    He’s the newest teacher at a small town college in Rhode Island. He’s single and doesn’t seem to have much going for him. However, two women vie for his attention; unhappily married fellow teacher Rita (Parker Posey) who fantasises them running away together to Spain, and student Jill (Emma Stone). Jill is in Abe’s philosophy class, and she is mesmerized by his teachings and his stance on life. They start to spend lots of time together outside of the classroom, much to the dismay of Jill’s perfect boyfriend Roy (Jamie Blackley). Abe tries and tries to resist the urge to sleep with Jill, though he has no trouble having sex with Rita.

    However, Abe’s relationship with Jill is becoming stronger and stronger, until he can no longer resist her, and they eventually sleep together. Jill is so smitten with Abe that she breaks the news to her boyfriend Roy that she wants to break up. The plot then takes a turn: one day at a diner Abe and Jill overhear a woman talking about a local judge who has ruled against her in a divorce proceeding and has awarded custody of her kids to her husband. She also tells the people she is with how the judge has destroyed her life. At this point Abe decides he’s going to do something about this woman’s problem. His decision rejuvenates him, it transforms him from someone who is aimless and depressed to someone who is full of life and energetic. And he actually does go through with his plan. Of course his actions are irrational, but to him they are rational. But does he think he’s pulled off the perfect crime?

    There’s not much more to the film’s plot which is probably why it’s only 95 minutes. But Allen does get more from his actors than what the script provides. Phoenix is perfectly cast as the loner professor who struggles with his identity but is lucky enough to have two attractive women vying for his attention. Stone overdoes it a bit as Jill, the student who has a good thing going with Roy but sees something attractive in Abe that we don’t see. Stone played a similar role in Allen’s last film – Magic in the Moonlight – falling for Colin Firth’s much older character. Posey is a delight as Rita, fantasising about a life with Lucas in Europe.

    But Allen’s script doesn’t provide much magic, it’s humdrum at the very best in a film that can be categorized as not one of his best. It also won’t have much box office appeal here in the UK- in the U.S. the film has made a measly $3.7 million – a far cry fromMagic in the Moonlight’s total gross of $32 million. At age 79, we’re sure there’s lots more films in Woody Allen’s repertoire to redeem himself from this one.

  • THEATRE REVIEW | Casa Valentina – The best show in London about Transvestites

    There’s a house in the Catskill mountains in upstate New York where several men go to dress up in women’s clothing. It’s also a new play by Harvey Fierstein called ‘Casa Valentina’ now playing at the Southwark Playhouse. ★★★★

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  • THEATRE REVIEW | The White Feather

    A New British Musical written by Ross Clark and directed by Andrew Keates ★★★★★

    Union Theatre is a poky, spit-and-sawdust kinda playhouse. Once you’ve walked through the patio, you’ll be drawn into a small but amply sized bar with a piano nestled in the corner, bare brick walls, basement-jazz low lighting and a sort of smell that evolves from years of fermenting damp, old stone and no doubt decades of booze spillage. Utterly charming – even it you’ve no intention of watching a production you must pop by for a swift one or a caffeine fix.

    Award winning journalist Ross Clark’s story highlights that allied soldiers were executed for cowardice, by British soldiers during the First World War, focusing on an underage recruit and some homosexual turmoil. Director Andrew Keates, also a trophy holder, breathes life into Ross’s quillings with emotion-elevating lyrics and compelling numbers that are implemented by nine talented actors.

    Set in a village in Suffolk the performance confronts class hierarchy, a strong sibling bond, a sexuality struggle, and the injustice of how young men with no real political views were brainwashed to fight. A head stirrer with core-fondling harmonies.

    Emma Cardinall (played by Cameron Leigh) brought a slight element of Downton Abbey meets Are You Being Served to her segments while Edith (Katie Brennan) could easily have walked in off the streets of an East Anglian village she was so lifelike. But the shiniest bauble on The White Feather’s theatrical tree is Georgina Briggs (Abigail Matthews) – pitch perfect. Abigail, buy your ticket to Hollywood and don’t forget to pack a red carpet number.

    To learn what occurs in the Union Theatre trenches, and to see how the many layers of The White Feather unfold, no military tactics, tanks or weapons needed – just hop on a tube to SE1.
    Union Theatre, 204 Union Street, London SE1 0LX – Wednesday 16th September – Saturday 17th October 2015

    Tickets are available starting at £15 from the Union Theatre Box Office and www.uniontheatre.biz – 020 7261 9876
    by Thabian Sutherland

  • THEATRE REVIEW | Kinky Boots, Adelphi Theatre, London

    ★★★ | Kinky Boots, London

    It’s a huge hit on Broadway and it’s now finally opened in London. ‘Kinky Boots’ is in the house!

    If the name rings a bell, it’s because Kinky Boots was a 2005 film about a struggling shoe factory about to go out of business until they change their product line and start making boots that are sexy, and, literally, not worn by the everyday woman. The musical version of Kinky Boots follows the same story, but it’s got a book by Harvey Fierstein (Torch Song Trilogy and La Cage Aux Folles – books he also wrote), music and lyrics by Cyndi Lauper (“Girls Just Want to Have Fun”), and choreography by Jerry Mitchell (The Full Monty and Hairspray). That’s a lot of power and muscle behind a show, and it works, to a degree. (The show won six Tony Awards).

    Killian Donnelly (the breakout star of The Commitments and co-star of Memphis) easily and comfortably plays Charlie Price, whose late father leaves him his shoe factory in Northhampton. It’s losing money, and Price might be forced to close it down, something that would make his London-bound fiancee Nicola (Amy Ross) happy. By chance, he comes to the aid of a drag queen who is being beaten up in a park. The Drag queen, Lola, played very ably and loudly by Matt Henry, is grateful to Price for saving him. But their meeting turns into a business relationship where Lola plants the idea into Price’s head to have his factory make Kinky Boots – boots for him and his fellow drag queens – boots that are big, flashy and preferably red! And eventually, Lola gives up her life (and leaves her fellow drag queens) in London to go up north to help in the factory to lead in the design of some Kinky Boots. But he’s not too accepted in a town and factory where no drag queen has walked in heels before. Even though he’s dressed as a man, some of the other workers make fun of him, especially Don (Jamie Braughan), who challenges Lola to a boxing match. Of course, conflict and arguments take place between Price and Lola, and Lola decides that she’s had enough of the northerners and heads back down to London. Meanwhile, Price is being wooed by one his employees – Lauren (Amy Lennox – wonderful) But it’s bad timing as Price is about to show his latest models of shoes at a Milan fashion show – he’s got no Lola, no models, and tons of shoes that need to be worn.

    And you can only guess what will happen next. To say this show is predictable is an understatement.

    While there are no surprises in the plot, it’s the music that raises the show up a notch or two. Lauper has injected her personality into songs that only she can write – when all the actors sing “Everybody Say Yeah” – it’s a song that will stick in your head for the rest of the night – in a good way. And of course each actor has their own song moment – Donnelly sings his heart out in “Soul of a Man” while Lola is given “Hold Me In Your Heart”- a song that highlights his very deep baritone voice in a soulful way (it sounds a bit like the song in Dreamgirls – “And I am Telling you I’m not Going”. If there’s one person who steals the show it’s Lennox – she’s hysterical in the role of Price’s colleague who pines for him while he’s focused on keeping the business afloat.

    Production values are fine – the set morphs from factory to the fashion show. For me it’s the drag queens that make this show good – their sparkling clothing and sass and attitude and sequins are just right – for without them Kinky Boots wouldn’t be so Kinky at all.

    At the Adelphi Theatre 020 3725 7068 | http://www.kinkybootsthemusical.co.uk/tickets.php

  • RESTAURANT REVIEW | Rugby Burgers @ West 12 Bar & Grill

    Last night, I had the pleasure of dining at West 12 Bar & Grill, at Birmingham Marriott Hotel, just in time for the opening of the Rugby World Cup. For the duration of the Rugby season, the Marriott Hotels are hosting #BurgersandBubbles, motto of which is: ‘designed by champions, served with champers.’ Celebrating Rugby events in style, Marriott and International Rugby Players have collaborated into creating the bravest, beefiest and bulgiest burgers I have ever held in my two hands.

    My dinner partner and I decided to go head-to-head with the two available Rugby Burger options. So, representing Australia, my guest went for The Burke burger, designed by the Australian fullback Matt Burke himself, who must have been a huge fan of sweet and sour, for the concoction of beef burger, grilled red onion, beetroot and pineapple behaved rather saucily in my partner’s mouth. At home, I represented New Zealand with the Hardman burger, created by Brad Thorn, the lock of the team, and I have to say, if I had even attempted man-handling the burger, it would have given me a locked jaw. Thankfully, we were both given steak knives to tackle the scrummy masterpieces. The Hardman was smoky and earthy with the venison, crispy streaky bacon, fried egg and tomato chutney combination. It was a draw, for both burgers equally delighted the taste buds of the burger captains.
    Our evening was made extra special by the restaurant team, who did nothing more but care for us. It was very kind of the Hotel General Manager, Gordon Tyler, to personally welcome us, joke about the world cup and assuring us that we were very welcome at West 12 Bar & Grill. He told us, ‘it is a very exciting time of year for rugby fans,’ and though we are not dedicated Rugby fans, we were soon in the mood for celebrating. Our waiter Sam led the team with care, dedication and a pleasant smile that went with every course. He was very passionate about the wines that he let us sample, and was very good listener while we shared our views about each one. It was not quite around the world in eighty glasses, but as we gargled the tasters, it felt we were being transported to the climates of the hot countries of Chile, Italy, Spain, France, where the wines were made. Our favourite was a red wine which accompanied the red meats deliciously, and though the name has escaped my mind, it was a combination of a Shiraz and Cabernet, and boy did it dance around our heads.

    I take my hat off to the chefs, who talentedly infused the finest ingredients by presenting both the starter and the main with formidable style and elegance, and the meaty burgers that made us fall-back and made us feel slightly self-conscious that our hands were not qualified to master the handling of the meat in between the two gigantic sesame-seeded buns.

    England beat Fiji 35-11, last night. So, it was an all-around successful night.

    Reviewed by: Alex DaSilva

    Address:

    Telephone: +44 121 452 1144

    Website: Click here

    Star rating: ★★★★★ (explained)

    Cost rating: £££ (explained)

    Tipping policy: Discrectionary 12.5% added to you bill
    by Alex Da Silva

  • THEATRE REVIEW | McQueen, Theatre Royal, Haymarket, London

    Crass yob or fashion god? Both, actually. All bile, venom and spunk, Alexander McQueen was a mutant oik messiah, a sartorial serial-killer maniacally slashing mediocrity into mouth-watering magnificence. ★★★★

    But that’s only when his brutally bi-polar, chemsex-twisted muse flew, of course, and new play McQueen – where he’s called Lee, his preferred name throughout – unflinchingly skewers his fatal, full-stop bungee-jump into oblivion.

    If the plot’s simple, the treatment, like McQueen himself, is insolently audacious. It’s the night of McQueen’s suicide, and an anxious Lee – (Stephen Wight) is surprised late at night by impulsive house intruder Dahlia (Carly Bawden).

    Instantly, Dahlia’s nerdy, conflicted, fan-girl worship acts as mental crystal-meth to Lee, and triggers an elegiac night of non-stop revelations. Burst after imagistic burst reveals Lee’s muses, mentors, likings and loathings, collapsing time and space with shockingly raw character expóses.

    That’s where McQueen truly impresses. If his supposedly blunt, scumbag genius was secretly held in contempt by snobs – Givenchy called him ‘le football thug’ – Lee in reality was painfully self-aware and insightful. One scathing scene gorgeously massacres smug faux-sophistication; a vapid reporter’s dissection of a woman is witheringly undone by Lee’s breezily compassionate take.

    So forget strict, dull, lazy biography nailed dead and rotting to the stage. Instead, this is fraught, suicide theatre superbly deployed as a multi-media, psychic minefield. Mime, pumping catwalk themes and video backdrops forensically flesh out Lee’s screaming inner self with an assurance clumsy naturalism would kill for.

    It’s an exact, brilliantly nuanced barometer of a frenzied gay genius’s mind. Time and again, music indelibly stains the action and spotlights Lee’s moods, from Nirvana’s brooding ‘Come As You Are’ to the hallucinatory grandeur of Handel’s Sarabande. And linear logic, throughout, is blatantly sacrificed for wrenchingly exact, emotional precision.

    That’s McQueen’s towering strength, shatteringly used in Lee’s lynchpin exchange with fashionista Isabella Blow, his triple-goddess muse, patron and financial angel.

    As played by Tracy-Ann Oberman, Blow’s a virtuoso study in slinky, fatally insecure hauteur. Both terminally damaged, she and Lee cling like frightened children to each other, as needy, emotionally naked and iconic as Rolling Stone magazine’s cover of John Lennon cradled by Yoko Ono.

    But that beautiful innocence makes only half of a shocking, Who’s Afraid Of Virginia Woolf brutality. It’s as horribly fascinating as watching slow, incremental torture, a frenzied kaleidoscope of pain, grief, betrayal and back-stabbing, as Blow’s callously thrown aside, and Lee’s vicious need to succeed shapes his signature, ‘savage beauty’ ethic.

    Directly sourced from Darwin’s take on nature – ‘red in tooth and claw’ – Lee’s manic, unstable, all-or-nothing creative process was pure Russian Roulette. Onstage, nightmare despair follows each ecstatic peak, awesomely mimicked by surging son et lumiere effects, as Lee, anxious, fragile and broken, exits his unbearable, trampoline existence to Marilyn Manson’s nihilistic, misfit anthem, ‘Beautiful People’.

    Oddly inspirational, a slow-burn triumph of subtle but often savage insight, McQueen deliberately spits on hysterical, West End Wendy fireworks. Instead, it’s far more rewarding; resonant, fully adult theatre worthy of Tony Kushner and Patrick Marber, and more remarkably contemporary than either.

    Until 7 November 2015. Tickets: 020 7930 8800; trh.co.uk

    By Sasha DeSuinn | @msSashaDarling

  • FILM REVIEW: Everest: Breathtaking Epic Adventure

    In 1996, dozens of people tried to get to the top of Mount Everest. Some succeeded, and some died trying. The gripping and realistic ‘Everest’ recounts, in dramatic fashion, this event. ★★★★

    There were quite a few expeditions on Mount Everest in May 1996, and they all had one goal, to get themselves, and their clients (who each paid $65,000), to the top of Mount Everest, and it was up to the expedition leaders to make this happen. Rob Hall was the leader for Adventure Consultants, and he happened to have Jon Krakauer on his team (journalist Krakauer, who was on an assignment for Outside magazine, would go on to write ‘Into Thin Air’ – a book about the disastrous events that took place on the mountain during this climb ). Hall was also responsible for 7 other clients. The Mountain Madness expedition was led by Scott Fischer, who also had 8 clients, including Sandy Hill Pittman, a very wealthy New York Socialite who was, at the time, the wife of Robert Pittman, the founder of MTV. In addition to the clients, several sherpas (local people who are hired by the expedition companies to carry up the mountain supplies and food, to fix the ropes and ladders to make it easier and quicker for the clients to get up – getting everything in place) were part of the teams as well. Of course most of Hall’s and Fischer’s clients were not professional mountain climbers, they climbed mountains as more of a hobby, and expected to reach the top of Mount Everest because of the huge amount of money they paid. One of Hall’s clients was a postman (Doug Hansen). Another was a doctor from Texas (Beck Weathers). Also on Hall’s team was Yasuko Namba, a Japanese woman who had climbed six of the Seven Summits. And Hall and Fischer knew that it’s good for their businesses to have their clients actually make it to the top. So along with these two expeditions groups, other groups of people trying to climb the mountain at the same time were from South Africa, France, Tibet, and 13 members of a Taiwanese team.

    But the weather gods were not smiling on Hall and Fischer and their clients during this climb. And this is the story that ‘Everest’ the film successfully and gloomily brings to life. We are introduced to the teams six weeks prior to the start of their expedition. Hall (played by Jason Clarke) is from New Zealand who leaves his pregnant wife (Keira Knightley) behind to go to work. Beck Weathers (Josh Brolin) says goodbye to his wife (Robin Wright) in Texas to try to accomplish the almost impossible task of getting to the top of Mount Everest. Doug Hansen (John Hawkes) meets up with the gang in Nepal, as does Sandy Hill Pittman (Vanessa Kirby), which is the starting point for all expeditions. It is in Nepal where the teams get to know each other and bond, but it’s when they get to base camp that the adventure, and danger, begins. Base Camp is already at such a high altitude (17,600 feet), that climbers need to be acclimatized so their bodies can get used to the high altitude. It’s also where the operations for the expeditions take place, led by Helen Wilton (Emily Watson). ‘Everest’ takes us on the journey of these team climbing the mountain. But first they need to navigate the Khumbu ice fall, soaring ice towers and crevasses so deep that there really is no bottom. Camp I and Camp II are where the teams stop and rest and basically take their time. But it’s Lhotse Face that is one of the most challenging bits on the mountain. It’s a 3,600 foot wall of ice that they have to climb to reach Camp III, where most climbers need to use bottled oxygen to breath. But it’s above 26,000, right below Camp IV, which is where the climbers use as the final stop before their ascent, called the ‘Death Zone’ because it’s where humans cannot survive for long. If climbers have survived as high up as Camp IV, then it’s full throttle ahead to reach the summit, usually at midnight so that the teams can reach it before noon, that if they survive the heavy gusts of wind and the Hillary Step, a 40-foot tower of ice and rock on an exposed part of the mountain that becomes a human traffic jam for people getting to the top, as well as coming back down. But it’s the climb back down that is hardest. The climbers are exhausted, some suffering from high altitude conditions, but it’s the lucky ones who are in ok shape, and it’s these people who have to decide whether to save the almost dead or to leave them behind to save their own lives. As recounted in ‘Everest’, Hall and Fischer’s teams encountered a major storm on their way down, but it was not the only mistake that took place on that climb. Besides too many people on the mountain, Hall took Hansen up to top, way past the agreed time. And the search for them cost another climber his life. Fischer was not in the best of shape as he was climbing to the top, and had a much harder time going down. And a storm overtook the climbers, which turned out to be unexpected and deathly. And it’s reenacted in ‘Everest’ to extreme detail; high winds, blowing snow, climbers struggling just to survive, dead bodies littered here and there, and almost blacked-outconditions. ‘Everest’ also recounts Weather’s struggle for survival, Hall’s loyalty to his client, and the operations team realizing that there is nothing they can do for the people trapped on the mountain.

    ‘Everest’ successfully, and grippingly, tells the story of the people who survived the mountain that fateful year. And while there have been a few books and one television movie made about this event, ‘Everest’ is based on the book by Weathers ( Left for Dead: My Journey Home from Everest (2000)), recollections from some of the survivors, as well as satellite phone conversations between the climbers, their families, and base camp. And the actors who portray the real life characters are superb. Josh Brolin has his best role in years as Weathers, a man who amazingly was left for dead on the mountain but somehow survived. Jason Clarke as Rob Hall is excellent – he’s determined to get his clients to the top and at the same time determined to get back home to see the birth of his first baby. Emily Watson as Wilton, the base camp operations coordinator, is concerned, and then doomed, after she realizes that a few lives have been lost on the mountain. And John Hawkes as postman Hansen gives us a portrait of a man who wants to be there but is not experienced in any way to climb the mountain. Luckily Knightley is relegated to a role not on the mountain, she plays Hall’s wife back at home, and there’s nothing she can do to help him. Gyllenhaal’s role as Fischer is relegated to a few scenes, mostly up on the mountain – he’s far from being the star of the movie. Director Baltasar Kormakur (2 Guns, Contraband), working from a script by William Nicholson and Simon Beaufoy, takes us with the teams on their journey, and it looks all too realistic. While there are lots of characters to keep track of (the all important Sherpas are virtually ignored), especially when they are all wrapped up, ‘Everest’ brings to the big screen the real life 1996 Mount Everest disaster. Eight people eventually died during this expedition. ‘Everest’ was shot at high elevation on the trek to Everest in Nepal, in the Italian Alps and at Cinecitta Studios in Rome, and Pinewood Studios in the UK. It can be experienced in IMAX 3D as well as standard 3D and 2D. ‘Everest’ is an epic adventure that will take your breathe away.

     

     

  • FILM REVIEW: Faults

    A down on his luck cult expert is hired by a couple to deprogram their daughter in the new online film Faults.

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  • Transformer: A Night With Lou Reed At Soho Theatre, Polymorphous Perversity

    Does gay culture have Alzheimer’s or rather, collective amnesia? Sure, for straight, non-artistic philistines Jonny Woo seems ground-breaking, but truthfully, he’s one rich link in a historically brilliant chain. ★★★★

    The once-signature beard, teamed with trowelled-on make-up? Straight from the Cockettes, the 1960s, San Franciscan performance art troupe, via David Hoyle’s car-crash Liza Minelli make-over. Ditto the confrontational rants, identity politics and shot-gun conflation of trash and fine art – uh, hello, John Waters and Divine, anyone?

    And let’s not forget gorgeous lifestyle peacocks Quentin Crisp and Colin Swift (don’t know them? Do a Google), the epitomes of waspishly debonair decadence. ‘I love watching ballet’, Crisp hissed, ‘You never know when the dancers will slip and break their necks’.

    And something of that same, devilish relish instantly curdles easy, audience enjoyment tonight. Because, if ever a show demanded snarling contempt for punters, it’s this. See, Lou Reed – the ragingly gay, rock ‘n’ roll beast so timidly evoked tonight – wasn’t even borderline polite. Screw social graces – he brutally massacred finesse with the aplomb of a fresh, human turd served at a Buckingham Palace banquet. Sure, Woo serves up a live, Reed songbook and patter, but it’s a pale, disappointing Xerox of Warhol sleaze, venom and spunk, West End Wendies doing a Lou Reed-Lite karaoke.

    Let’s get specific. The biggest, howlingly apparent problem is a skewed, dramatic spine, all Hunchback of Notre Dame excess but no pay-off. It’s the sin of pride. perhaps, or, less religiously, King Midas Syndrome, the belief that sexually diverse mind-sets turn everything they touch to pure gold.

    Not here. Unshakeably sure of his own cachet, Woo simply assumes, limpet-like, that his blessed touch automatically annexes and glorifies all things queer in his own image. If only, if only, as Tennessee Williams should’ve said to Salvador Dali. Full points to Jonny for even trying, but I deeply missed Lou’s clinically insane, live-gig frazzled mania, nowhere evident tonight.

    It’s unfair, perhaps, to compare Transformer to the utterly deranged, swamp-rock transvestism of The Christeene Machine, another Soho Theatre stand-out. But frankly, Jonny, bless his surely rock ‘n’ roll heart, just pussyfoots, and merely apes, but never memorably embraces, piss-stained leather pants dementia.

    Still – as with the filthiest, most depraved sinner – there are points of brilliant redemption. Breaking London drag superstar Pretty Miss Cairo is an outstanding Candy Darling, even though that transsexual, Warhol luminary would rather cut her bashful, self-effacing dick off than get naked on stage. And better still is Fi McCluskey’s jaw-droppingly stunning Valerie Solanas, the militant feminist who shot Warhol nearly point-blank in ’68. Reciting still-incendiary verses from the SCUM manifesto – the Society for Cutting Up Men – McClusky gives every ounce of witchy, confrontational venom a sublime, poison perfection.

    So should you see Transformer, and part with your hard-earned, precious shekels? Oh god, yes, even for just the memory of that glorious, unrepeatable era when the streets of early 70s Soho were awash with drugs, pansexuality and promise – a time, we hope, might soon come again.

  • THEATRE REVIEW | The Curious Incident of the Dog in the Night-Time – Sheffield Lyceum & National Tour

    Christopher Boone, a 15-year-old boy, discovers that his neighbour’s dog, Wellington, has been killed by someone (the poor dog having been stabbed with a garden fork), and sets off to find out who the culprit is. ★★★★

    But Christopher has Asperger’s syndrome, which makes his perception and functioning very different to other boys his age and as the truth behind Wellington’s death starts to be revealed, it leads Christopher to embark on a remarkable adventure.

    The show is based on the hugely successful book by Mark Haddon and has been a West End and Broadway hit. Utilising a virtually empty stage, the presentation of the show was intriguing, using screens on the back and sides of the stage, almost framing the show in a cube, reflective of Christopher’s constraints in his functioning. Lights flicker like the firing of neurons in his brain, and black and white projections are used to show both his thought process and to set the scene. The show, like the book, is written from Christopher’s point of view and the presentation effectively places the audience members squarely into the centre of his mind and thoughts. The simplicity of the set is reflective of the way in which Christopher perceives the world and worked very well. There were pieces of carefully choreographed movement throughout, and the scene where Christopher arrives in London and is overwhelmed by the overstimulation of his environment is superbly done. In this show, less certainly is more, and the monochrome set nicely mirrored Christopher’s rather binary thinking.

    But placing the style and presentation to one side, the most impressive aspect of the show was the outstanding performance of Chris Ashby. Ashby’s portrayal of Christopher Boone was stunning – mixing the complexities of the characters personality, his physical traits and a childlike innocence which combined to provide a rounded and believable performance. It was up there with some of the best performances I have ever seen in the theatre. Surely big things must beckon for this young man. The other standout performance was provided by Stuart Laing, as Ed; Christopher’s father. The scenes between them were particularly moving and touching, and showcased two incredibly talented actors.

    The show is beautifully written, with a script which imports large chunks of text from the book to provide a faithful adaptation of the source material and was filled with gentle humour and a myriad of characters that come in and out of Christopher’s life. But the show also has beautifully crafted moments of dramatic tension and emotionally powerful scenes which captivated the audience completely.

    The show has won a slew of awards, including 7 Olivier Awards and 5 Tony Awards, and it is easy to see why. There is a lot of depth to the play, exploring the adult world of interpersonal relationships through a simplistic and innocent perspective. It is one which has stayed in my mind in the days after seeing it.

    The Curious Incident of the Dog in the Night-time is currently playing at Sheffield Lyceum Theatre until Saturday 26th September 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour until 26th November 2015. For further details, visit www.curiousonstage.com/

    By Paul Szabo

  • THEATRE REVIEW | The Sum Of Us

    A father who loves and accepts his gay son is the theme of the new play ‘The Sum of Us.’ ★★★★

    In 1994, a young Russell Crowe played the gay son in the movie version of The Sum of Us which was originally staged as a play in New York City in 1990. Now a new version of the play ‘The Sum of Us,’ which has never played in the UK, has just opened at the Above the Stag Theatre in Vauxhall.

    Harry (Sephen Connery-Brown) is a forty-something widower raising his twenty-something young son Jeff (Tim McFarland), who happens be gay. Harry is not bothered about his son being gay, he actually encourages Jeff to go out and meet other guys, to enjoy life while you can while you are young. And Harry doesn’t mind when Jeff brings other guys over to their home. Jeff is good-looking and athletic with a very positive look on life, but he says there’s a space in his heart that is empty, a space that could be filled by another man. When he meets someone he likes (Greg – played by Rory Hawkins), he’s immediately smitten. But it’s Harry who interrupts the two young men who are on the couch getting to know each other. Harry says a bit too much about Jeff, and their close father and son relationship makes Greg feel insecure about his own relationship with his father. Meanwhile Harry, after being a widower for a number of years, also starts dating – he feels like it’s time to get out there and meet another woman. And he does. Her name is Joyce (Annabel Pemberton), and her and Harry are getting on like wildfire. But when she learns that he has a gay son, she just can’t accept this. Firstly she’s angry that Harry didn’t tell her when they started dating, secondly she just can’t accept gay people at all. Even after Harry proposes to her, she just doesn’t want to see him anymore. So thus we have a father and a son who both yearn to be with someone yet obstacles get in their way. And as Harry tells Jeff, he is the sum of us, the sum of him and his late wife, and the sum of his grandparents and great-grandparents. Actually, we are all the sum of us, and this is the message of the play.

    Above the Stag Theatre really sets the bar high on this one. Their previous shows had names such as ‘Rent Boy: The Musical’ and ‘Bathhouse: The Musical.’ However, they have now produced a play that is serious, heartwarming and very well-acted. The Sum of Us is a story that most gay men may not relate to; who can say that their fathers have whole heartedly accepted their homosexuality. But the play, written by David Stevens, who also wrote the film version and the original play version, successfully combines the son’s and father’s search for love and the close relationship they have with each other. And in the end, the message is that we all want someone to love and someone to love us, no matter whether you are gay or straight.

    Connery-Brown is great as Harry, as is McFarland as Jeff. They have a real rapport as father and son, and even resemble each other a bit. Hawkins and Pemberton are fine as the other halves, who may or may not wind up in the men’s lives. The set, down to the details of the1990’s script, cleverly goes from a living room to a park, in this cute theatre that is nice and cozy with a bar to match.

    The Sum of Us is playing at Above the Stag Theatre until October 4th. Tickets can be bought here:

    http://www.abovethestag.com/shows/

    Buy tickets now – it’s selling out fast!