THEGAYUK

Category: Review

  • THEATRE REVIEW | The Full Monty, UK Tour 2015

    ★★★★ | The Full Monty, UK Tour 2015

    In 1997, a film about unemployed steel workers turning into unlikely strippers became the most successful film in the UK (until it was overtaken by Titanic), garnered four Oscar nominations and cemented the phrase ‘the full monty’ into popular culture.

    Set in Sheffield, a group of ex-steelworkers with seemingly very little in common, other than their unemployment, band together in a get rich quick scheme, whereby they plan to rival The Chippendales by becoming strippers and giving the audience a little something extra – by going all the way. Gary, needs money as he is on the cusp of losing contact with his son, overweight Dave has a big body image problem, Horse has a rather (ahem) “small” problem and Loomper has his own secret hidden in his closet. But despite their unlikely sex symbol status, the whole community waits to see whether they really will go ahead with their scheme and whether they will go the full monty.

    Not to be confused with the musical version of The Full Monty, which was produced in 2000, this version is a straight play, which forgoes thin plot and thinner characterisations which simply link musical numbers, and instead provides a play with heart, rounded characters, a genuinely funny script (particularly in the second act) and, of course, the ending that the predominantly female audience were waiting for.

    Despite a few rather dubious Sheffield accents (you can’t fool the home crowd, you know), the cast worked well as an ensemble. Andrew Dunn (“Dinnerladies”) and Louis Emerick (“Brookside”) provided the better performances of the evening; both with effective yet understated performances, whilst Gary Lucy (“Eastenders”) provided the eye candy.

    The show is beautifully written by Simon Beaufoy, who wrote the original story and received an Oscar nomination for his screenplay for the film. The story of the play very closely mirrors that of the film itself, with all of the key plot points, pivotal scenes and music being extrapolated, but despite the running time of the play being approximately 40 minutes longer than the film; it never feels like it is padded out. What does come across much more in this production is the social commentary hidden beneath the comedy and narrative and there is a real balance between the humour, sadness and optimism portrayed. Despite the characters initial differences, there is a genuine feeling of friendship which permeates the play, accompanied by a strong sense of family, loyalty and acceptance.

    Overall, the show remains a feel-good, funny and enjoyable show, which I have to say I enjoyed much more on second viewing, and the whoops of delight by the time the curtain fell proved it was a real crowd pleaser.

    The Full Monty is currently playing at Sheffield Theatres until the 23rd May 2015. For information and to purchase tickets visit www.sheffieldtheatres.com.The play is taking a break over the summer, but will be embarking on another national tour in the autumn.

  • THEATRE REVIEW | Oh What A Lovely War, Theatre Royal Stratford East

    ★★★★ | Oh What A Lovely War, Theatre Royal Stratford East

    Oh What A Lovely War, written by Joan Littlewood in 1963, depicts the essence of the First World War unbelievably well. Littlewood galvanised the idea of hunger, loss, bravery and even fear very convincingly. She said she wanted to write songs that were gritty and truthful to the events of the trenches. The most moving moment in the musical was when the soldiers sang I Don’t Want To Be A Soldier after having been shown real-time war images that showed trenches where men had been blown up or even the image of a few soldiers managing to brave a smile for the passing camera, as there was destruction in the foreground.

    I was touched by the homage that The Theatre Royal Stratford East production paid to the fallen 2.5 million men who fought bravely in WWI. Even as an audience member in 2015, I felt that the pain and sadness felt at the time were shared across the spectators during some scenes and the use of multimedia was the best I have seen in a long time. In occasional scenes, a screen would come down and facts of the number of deaths during the different stages of the war were displayed, as the action ensued, which added to the nostalgic effect.

    As an ensemble, The Theatre Royal Stratford East performed formidably, with natural singing, dancing and acting flair, in particular, Alice Bailey Johnson whose voice was sublime, and multi-part played roles in a dynamic fashion, especially with different accents. Ian Redding, who most might remember as Tricky Dicky in Eastenders, was a delight to watch. His comedic timing was outstanding, and the funniest part of the show for me was when he played the Sergeant. In this scene, Ian’s character was shouting at his platoon, but instead of words, he was just spitting spluttering and talking gibberish at them.

    Although the set was ornate and well designed, it appeared to look unstable, as when actors leaped onto certain staircase-like stages, it wobbled and did not look safe. However, this did not distract us from the action, as the cast leaped around beautifully.

    The ending was the most moving moment of all. After singing They Didn’t Believe Me, the audience were shown more images of the First World War and it paused on the last picture, where four soldiers smiled and it looked as though they were staring right at us. Here, the cast paused too and looked up to screen in respect to the spirited soldiers.

    Not only did this show break the fourth wall, it also summoned onto the stage the emotions that would have been felt during the era of 1914-1918, where the Great War took place. A must see, but with a word of warning: bring your own tissues, to contain your tears of joy, but also of grief.

  • FILM REVIEW | Private Romeo

    ★★★★★ | Private Romeo

    Over a weekend eight male high school cadets are left behind when the rest of the McKinley Military Academy go away on an exercise and they are ordered to carry on with their studies regardless.

    In the English Literature Class, they are studying ‘Romeo and Juliet’ and the two young men reading the leads begin to take it all very seriously and live their roles as the star-crossed lovers for real.

    Rather than the city of Verona, the setting is the hallway, gym and dorms of the School, and whilst the script is punctuated with occasional references to their daily routine, it sticks faithfully to Shakespeare’s glorious text. It transforms the piece into a modern-day gay tragedy.

    This totally enchanting production by writer/director Alan Brown of shirtless teenagers falling in love with each other and spouting this magical prose is a real breath of fresh air. The energy and exuberance of the talented young cast oozes through, and what they may occasionally lack in technique certain more than compensates with such enthusiasm which makes all of their performances so very watchable, especially Hale Appleman as Mercutio.

    This is not one for Shakespearian purists but if you ever had the same good fortune of ever catching Joe Calcaro’s play ‘Shakespeare’s R & J’ (which I was lucky enough to see Off Broadway in the late 1990s) which served as the inspiration, then you will love this one.

    A refreshing wee gem of a movie.

  • FILM REVIEW | Futuro Beach

    ★★★★★ | Futuro Beach

    Karim Ainouz’s mesmerising melancholic drama starts and ends in a very similar fashion.

    In the opening scenes we see two motor bikers racing across the sand dunes and when they reach the end of the beach discard their bikes and clothes and run off into the high rolling waves. They soon get caught in riptides and despite the efforts of the lifeguards, one of them drowns.

    Donato one of the lifeguards is so shaken by his first ever death whilst on patrol, he takes it upon himself to break the sad news to Konrad the swimmer who they had managed to rescue. He is repaid for his kindness by Konrad working out his grief on him sexually. The two men spend the next few days together whilst the authorities search for the missing body. When it’s time to give up on that, neither of them are prepared to let go of each other, so Donato makes the decision to leave his sun-kissed beach in Brazil to try life with Konrad in his native Germany.

    In the second chapter of the story that Ainouz has called ‘A Hero Cut in Half’ (the first was ‘The Drowner’s Embrace’) we see the two lovers trying to make a go of urban living in the middle of a dreary winter in a country that is alien to Donato. They almost seem to succeed but Donato obviously misses not only Aryton his younger brother that he was extremely close too and his mother, but he feels he cannot live without a beach. The fact that he doesn’t catch his return flight to Brazil when his visit is over is covered in the third chapter called ‘A German Speaking Ghost’.

    It’s 8 years later and Donato has a new life, still swimming, but now as a maintenance diver in a city aquarium. He and Konrad are no longer an item but still important to each other as is apparent when an angry Aryton turns up on his doorstep unannounced. It appears that Donato had abandoned his family when he decided not to return back to Brazil and they have had to fend for themselves ever since. Now all grown up, and with their mother dead, Aryton wants to confront the brother he so idolised and who ruthlessly deserted him without a single word.

    Together the three men try and establish some form of forgiveness and reconciliation to be able to move forward. The final scenes are of them in the middle of winter roaring down the fog-drenched Autobahn to a stark desolate beach. It has another kind of beauty totally different from their precious Futuro Beach back home but just as stunning, and it’s where they realise that this is where home is now.

    Ainouz’s movie, co-written with Felipe Braganca, is light on plot as it focuses much more of the sensuality of each moment. There are certain pivotal scenes, which are sparse of dialogue where he allows the camera to remain much longer than the norm with such riveting effect. Whether it be Donato letting off steam dancing rather manically in a club, or when he and Konrad are making rough and passionate sex together, or in the closing scene of the final motorbike ride. It’s also clever that the script is guarded in revealing too much detail or any real insight into the three men and we are simply left to observe and imagine what emotional state they are in at any time.

    It is unquestionably a real visual treat from the wild untamed uninviting ocean in Brazil to seeing young Aryton acting out his ‘Speed Racer’ fantasy racing through the deserted streets of Berlin. The acting is astoundingly good with award-winning Brazilian actor Wagner Moura as the over sensitive Donato, handsome German Clemens Schick who’s prior claim to fame was that he played a baddie in ‘Casino Royale’, and young Jesuíta Barbosa, who stole our hearts last year in ‘Tatuagem’ was the bewildered Ayrton.

    Futuro Beach is one of those movies that linger with you for days as you run it through your mind time and time again. It’s Karim Ainouz’s fifth feature film. And it’s been 12 years since he gave us ‘Madame Sata’, and this new one is every bit as good, if not better as that. Winner of the Sebastiane Award for Best LGBT film at the San Sebastian Film Festival, it was nominated for a Golden Teddy Award at the Berlin Film Festival too.

    P.S. Interestingly enough Mr. Ainouz is a Brazilian who has now settled in Germany, so maybe there is part of his life in this story too.

  • FILM REVIEW | Hooked Up

    ★★★ | Hooked Up

    Technology is moving so fast and we now own more powerful processing power in our pockets (I mean your phone) than ever before. The cameras are better, image storage immense thanks to cloud storage and video quality crisper than ever.

    So, when I got the chance to review a horror movie filmed entirely on an iPhone, you can imagine how it piqued my curiosity, I am after all, a complete iFan.

    The storyline is fairly straightforward for schlock horror movie fodder, two stereotypically loud Americans go to Europe to get drunk and get laid. Both come across as quite unlikable characters, and in a horror movie, I always found you need to invest some feelings towards at least one character – otherwise why watch?

    With this, I didn’t really care for either – felt no emotion that one had just split form his long-term girlfriend, didn’t care what happened to them but was curious about the film and how it looked as it was shot on a phone.

    However, once they get to Barcelona and get out there, things take a more interesting turn and, after picking up two girls, they are invited back to one girls “grandmothers” house for the usual rumpy-pumpy. I must stress, the grandmothers house was supposed to be empty and said rumpy-pumpy did not include the grandmother.

    And this is where the film gets interesting. Obviously, there are nasty things going bump in the night, lights going out, strange happenings, lots of blood and a bit of gore – but the best thing for me was that the iPhone filming felt right?

    I know that sounds odd, but not once did I question why they were filming things – I use my phone all the time, without it, I feel like someone cut off my hand. To use one to film and take images whilst on holiday is now normal so this film didn’t feel contrived in that sense.

    Co-writer and director, Pablo Larcuen, has a good stab (yes, i went there) at writing something that tries to move the found footage genre along a little by the inclusion of something we all own – a smart phone.

    The performances are, on the whole, good with my only issue being the characterisation I mentioned earlier – give me one person to care about and I’ll stick with a film to the bitter end to see what happens. When you don’t really care, you’re just looking for the inventive ways they’ll die!

    My other issue, and not just with this film, but with all found footage films is who found the film?

    A decent 3 stars – it won’t set the world alight but a decent watch with a good pizza and a nice white wine.

  • THEATRE REVIEW | 4 X 4 Cast Theatre, Doncaster

    ★★ | 4 X 4 Cast Theatre, Doncaster

    In an original fusion art form, where the gentle poise and delicacy of ballet meets the frenetic pace of juggling, progressive troupe ‘Gandini Juggling’ explore bringing order to chaos using mathematics, numbers, patterns and regularity in 4×4 as two very different sets of skills melt together.

    Using symmetry, routine, repeating themes and the formation of geometric patterns, the intertwining of the two art forms proved to be a serene and strangely hypnotic experience at times. The sound of the original score by Nimrod Borenstein combined with the rhythmic chanting, the gentle thudding of the juggling and the performers bodies as percussion instruments; whilst, visually, the patterns formed by both objects flying through the air and the unison of the cast as they interweaved their respective skills and blended around each other came together to create visual and acoustic patterns which both soothed and stimulated simultaneously.

    Breaking down the individual elements of the performance, the entire cast displayed talent, skill and a dedication to their art. The string ensemble score was beautiful at times, bringing with it the flavour of an Eastern European influence; the dancers were accomplished, supple and foot sure in their performance and the jugglers were well timed, rehearsed and solid.

    However, despite their skill and talent, the show was uneven in its pace and presentation. It certainly had its moments where you were mesmerised by the movements on stage, but equally, the themes of symmetry and repetition led to the show itself feeling rather repetitive and almost as if it were going back over itself. There is absolutely no denying the talent of the cast overall, but despite some interesting visuals, wry humour and skilled performances, this show, unfortunately, didn’t quite come together to equal the sum of its parts.

    4×4 was seen at CAST Theatre, Doncaster, who have a launched their new season, which features a variety of performances from a number of dance companies including Phoenix Dance Theatre and Northern Ballet. For details of their full programme, see http://castindoncaster.com/ .

    4×4 is on national tour at a number of venues across the country until 19th September 2015. Full details of the company, their tours and their work can be found at http://www.gandinijuggling.com/en

  • FILM REVIEW | Beyond The Walls

    ★★★★★ | Beyond The Walls

    This unexpected and rather remarkable film from first-time writer/director David Lambert realistically scrutinises the intimate details of the rise and fall of an edgy gay relationship, devoid of stereotypes.

    It premiered at Cannes Film Festival during the Critics’ Week (picking up an award) and most of the reviewers then made a point of commenting that after Andrew Haigh’s very successful Weekend and Ira Sachs’ Keep The Lights On that there is a now a new movement of realism in gay cinema. And very refreshing it is too.

    Drinking rather heavily in a Brussels’ bar one night, Paolo a young slim youth catches the eye of Illir a hunky bearded Albanian bartender and ends up waking in his bed next morning. Bisexual Paolo slinks back to his girlfriend but she eventually throws him out two days later, and Paolo now homeless, persuades Illir to put him up even though the barman knows that shacking up together after just a couple of dates is not a good idea.

    However thrown together, love blossoms between the inexperienced young man and his ‘daddy’ figure boyfriend and everything is going really well until Illir, a part-time musician leaves town for a gig and ends up being arrested and jailed for possessing hash and resisting arrest. The clingy dependent Paolo is distraught and makes every visit to jail emotionally explosive, and Illir conscious of the tough guy image he wants to maintain in front of his cellmates, tells him never to return again.

    Paolo eventually hooks up with an older successful businessman who he clearly doesn’t love, but the relationship empowers him to mature and find his own sense of worth. Halfway through Illir’s jail sentence, Paolo is still willing to jeopardise his own freedom by smuggling in some hash, but later by the time Illir is eventually freed, Paolo can resist Illir even though he is obviously still in love with him.

    Like both Weekend and Keep The Lights On there is no fairytale ending where everyone lives happily after: it is what it is. The relationship reaches giddy heights but both men in their different ways accept that it has run its course and that they cannot turn the clock back.

    The story dips a tad in the later part losing the excellent pace that it started out with, and although by no means a perfect film it has much too highly recommend it. ‘Realism’ does not mean gloomy and Lambert obviously has a keen sense of humor and has written a couple of funny and affectionate scenes like when the normally closeted Illir grabs the microphone in the supermarket to ask anyone if they could point out the condoms so that he and his boyfriend could have a good afternoon making out. Plus there are the two lead actors Guilluame Gouix and Matila Malliarakis who are perfectly cast to add to the rawness of the piece. Well photographed too.

    We’re giving this a high rating because not only is this a refreshingly enchanting heart-warming movie from this newbie Belgian filmmaker, but it strives (and succeeds) to help break the mould and not make this very real story into the usual frothy lightweight gay movie.

  • FILM REVIEW | Broken Gardenias

    ★ | Broken Gardenias

    Jenni is a misfit and a nerd. She is so clumsy that she breaks most of the plant pots at the nursery where she works and that really annoys her boss.

    Her self-absorbed roommates all but one ignore her, and she is totally friendless. It gets even worse after she is hospitalised and loses both her job and her home. Clutching one cardboard box of her worldly possessions she makes tracks to the nearest park and sets about hanging herself from a tree.

    Even this does not go to plan as she is cut down and rescued by Sam (short for Samantha) a feisty lesbian with a buzz cut and ripped jeans and a great big grin. ‘This’ she tells a downcast Jenni ‘is the face of a nice person’. Something she feels the need to point out after listening to the miserable girl pour out her tale of woe as it seems likely that she has never encountered a nice person ever before in her life.

    Part of the story is Jenni’s father who she hasn’t seen since she was brought to the city and dumped there when she was very little. He is still in Los Angeles. Maybe. Jenni is very sketchy about details, but that doesn’t deter Sam who declares that they will set off for LA in search of him immediately. Even the fact they do not have a car, or even the faintest idea where in the vast city he will be is considered irrelevant by the overly optimistic Sam.

    Their road trip is littered with characters that Sam just shrugs off, but which wind up Jenni even more. When they arrive in the city and the search for the father starts, Sam has a detour when she runs into an old fling who invites her… and Jenni… to a wild party. Whilst Sam goes off to make out with her ex, wide-eyed Jenni ends up tripping on a psychedelic cupcake and getting into some bedroom action that she didn’t didn’t count on. She freaks out and then as she has angered the owner of the house as well, runs off into the city and is really on her own now. The question is will she survive, and will she find her father? Even more important will we have lost interest just like Sam does?

    Broken Gardenias is billed as a dark comedy and is the work of first-time director Kai Alexander whose bio states that he spent his childhood with his parents who were part of a travelling circus which may account for the bizarre roster of characters the two women encounter. The script is by newbie writer Alma S. Grey who also plays Jenni.

    The sole bright spot of this film is the performance of Ashley Morocco as the bubbly Sam as asides from this the movie just simply fails to really engage, and for a comedy, it is painfully unfunny.

  • FILM REVIEW | Glassland

    When John is not goofing off with his best friend Shane, he is driving his taxi around some of the seedier downtrodden neighbourhoods on the fringes of Dublin looking for fares. ★★★★

    Pickings are slim and he pleads with his boss to give him more shifts to make ends meet. He needs the money to support himself and Jean his alcoholic mother who seems determined to drink herself to an early grave.

    On the rare times she is sober she is vivacious and funny, but when she is wasted, Jean changes into a mean and nasty drunk. So much so that John videos one of her drink-fuelled tirades to play it back to show her what she turns into. Coming home to find her passed out is a regular occurrence, but on this occasion when he discovers her lying lifeless in a pool of her vomit he rushes her to the hospital ER. The doctor breaks the news that Jean desperate needs a new kidney, but if she doesn’t get her drinking in check immediately, she probably won’t last long enough to even have a transplant.

    If that is not enough for John to deal with, he also has to take sole responsibility for his younger sibling Kit who has Down’s syndrome, as Jean refuses to even acknowledge his very existence, let alone attend his 18th birthday. He does however finally manage to get Jean to an AA meeting but he discovers what she really needs is a proper detox programme that will cost £8000. No amount of driving hookers around looking for their ‘johns’ in his cab will raise an amount as large as this, so he is forced to borrow it from an unlikely source.

    He is actually handed the money by a person on a horse who passes him a tin full of money. We find later that the price he will have to pay for this is something to do with the activities of the criminal clique who lent it to him, but what this actually is as clear as mud and is open to wild guesswork. There is a clue in the naked dead woman he discovers in the bath in a deserted country house he has been sent too, but we are never sure why.

    Saying that this powerful Irish kitchen-sink drama is completely gripping from the word go. It has an impressive performance from Irish actor Jack Reynor as John that got him a Best Acting Award at Sundance earlier this year. Playing his mother quite superbly is Toni Collete who is pitch perfect as a deeply unhappy woman who seems almost happy to drink herself into oblivion. A nod to Harry Nagle a young actor for his bravado ad Kit.

    Confusing but quite compelling.

  • FILM REVIEW: Elsa And Fred

    FILM REVIEW: Elsa And Fred

    ★★★★ ELSA AND FRED | Newly widowed Fred has been coerced by his control freak of a daughter to sell his large house and move into an apartment in New Orleans.

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  • FILM REVIEW | The Last Five Years

    ★★★★| The Last Five Years

    The Last Five Years is a rare breed. It is an (off) Broadway Hit Musical that has been very successfully adapted as a movie and avoided the disastrous transition from stage to screen that usually ruins most of Broadway’s exports.

    The simple story explores a five-year relationship between Cathy, a struggling actress, and her boyfriend Jamie who is a new novelist destined for big things. The show bravely tells Cathy’s story starting at the end of their marriage and working backwards, whereas Jamie’s is told in chronological order.

    With very little dialogue this two-hander is a series of songs with the couple singing to each other about their romance as it takes off and then falls apart, and in fact there is only one number in the middle of the movie when they sing a duet. So Cathy starts with her sad lament Jamie it’s Over’whereas Jamie’s exuberant first song Shiksa Goddess is about when they first meet and he totally falls in love with her and declares she can be anything, but preferably not Jewish as his Orthodox family had pressured him for years.

    As the title gives away the young couple meet, fall in love, marry and then part all in five years. Cathy gets stuck midway doing Summer Stock Theater in Ohio (!) whilst Jamie’s literary success makes him the toast of Manhattan. Evidently so closer based on composer Tony Award Winner James Robert Brown’s own life that he had to change one of the original songs after his actress ex-wife threatened legal action.

    It is completely enchanting and although sometimes the songs are a tad more passionate than the actual relationship, the infectious score and the very witty lyrics make this movie such a sheer delight. Credit too for a rather wonderful performance from rising star Anna Kendrick who showed in Into The Woods recently that she can sing as well as she can act. She is teamed with handsome Jeremy Jordan (from TV’s Smash) who is obviously a seasoned musical performer.

    The original stage show was first produced in Chicago in 2002 before setting in off-Broadway and picking up a few Awards. It has aged well with time, and this movie adaption from director Richard LaGravanse (‘PS I Love You’) will appeal to people beyond the usual musical aficionados.