THEGAYUK

Category: Review

  • THEATRE REVIEW | She Loves Me, Landor Theatre

    ★★ | She Loves Me, Landor Theatre

    Mistaken identity has long been the theme of love stories. This love story centres round a perfume shop in Budapest where two sparring employees unwittingly exchange love letters via a lonely-hearts advertisement. Sound familiar?

    The musical was based on a play that inspired “The Shop Around the Corner” and the Tom Hanks and Meg Ryan film You’ve Got Mail.

    Staging a musical in a small space like The Landor is fraught with difficulties and is a challenge that the team always rise to. One of the issues is that in a fringe venue there isn’t the scope for a huge dazzling set, scores of dancers and big choreographed routines. This puts the focus back onto the musical itself. In the case of their previous triumphs, such as “Damn Yankees”, this isn’t a problem. Where the musical is as weak as this one, with lacklustre and forgettable songs, lame comedy and a tedious plot, it simply doesn’t work at all and makes for dull viewing.

    There are lots of positive aspects to the production. “Britain’s Got Talent” finalist Charlotte Jaconelli makes a dazzling stage debut and has a superb voice as well as a lot of acting talent. Equally, Matthew Wellman is a singing sensation with a beautiful voice and Emily Lynn also puts in a great performance. Indeed, the whole cast work incredibly hard to make this work. The Art Nouveau inspired set is well thought and cunningly used.

    This production tries really hard but ultimately; the source material is so weak that the efforts of the team can’t revive this dated corpse of a show.

    She Loves Me is at the Landor Theatre until the 7th of March 2015.
    http://www.landortheatre.co.uk/index.php/booking-office/musicals/she-loves-me-93/

  • USED CAR REVIEW: Mini One D: Fun, Ecomonical But Expensive

    For years, if you were after a premium supermini there was only one choice, BMW’s Mini. Launched a barely believable 14 years ago, the ‘New’ Mini was available in 3 main trim levels, One, Cooper and Cooper S.

    The majority of cars would leave the factory with a 1.6 petrol offering between 89 and 170 bhp, giving performance that ranged from reasonable to rapid. Power wasn’t the issue though, fuel economy was. It’s for this reason that I would suggest hunting out the much rarer first generation One D.

    Introduced in 2003 and produced up to 2006, the D came with a 1.4 litre turbocharged diesel engine good for 75 bhp and more importantly, over 50 mpg. This engine actually came from Toyota and was shared with the Yaris. As you would expect, this engine is virtually bulletproof and has the advantage of a chain driven cam. In layman’s terms, this means you avoid costly cambelt changes that are needed for most other cars. If 75bhp isn’t enough for you (0-60 takes almost 13 seconds) then look for a post 2005 car which gained another 20 bhp. The more powerful engine can be identified by a plastic engine cover that the lower powered model does without.

    If there’s one thing to remember, it’s that the Mini is not an overly practical car. There was no option of 5 doors, the boot is tiny and the rear seats are cramped. While long doors help make rear access a little easier, they are heavy and have no protective rubbing strips to save your paint. The interior is funky but the centre speedo is a pain to use and the toggle switches on the centre console easy to confuse.

    Behind the wheel, the One D has almost all of the qualities that make the petrol powered models so appealing. You sit almost sports car low behind a chunky leather steering wheel with the stick to the 6 speed gearbox within easy reach. Although the tractor noises coming from under the bonnet may seem a little out of place, the handling is pure Mini. Turn is excellent thanks to quick steering that provides ample feedback from the front tyres. The gearbox is a delight to use with well judged ratios and a shift action that feels mechanical and direct.

    The car I tested had stability control fitted which does an excellent job of keeping you on the straight and narrow, switch it off and you can feel the rear of the car helping you into and round corners although this never translates into full on oversteer unless you do something very silly. This leads to my main criticism, the chassis is almost too good for the power output of the car. Even on tyres that wouldn’t look out of place on a motorbike, you always get the feeling the car could take another 100 bhp or more. This is no surprise as the brakes and suspension are identical to that on a Cooper S which has another 100 bhp. Admittedly, the test car was the lower powered variant which doesn’t help, I think you’d have the same issue with the 95 bhp version though.

    It is of course running costs where the One D really shines. As mentioned, you can get well over 50 mpg without even trying and over 60 mpg if you have a particularly light right foot. Even someone as lead footed as me struggles to get less than 38 mpg around town which coupled to low(ish) road tax of £110 a year makes for a cheap to run car. Do check insurance quotes though, it’s in a much higher group than you might think. You’ll also find Mini’s are pretty expensive to buy, only high mileage cars dip below £2500 with the best nearing £5000 even at 9 years old. The good news is that Mini’s tend to hold on to this value and even the introduction of a new model doesn’t upset prices too much.

    Things to look out for are electrical gremlins, cars pulling to the left or right, shoddy gearchanges and noisy power steering. These issues seem to affect the older cars more although be wary of them on any test drive you might take. With the Mini being a premium product, they can be expensive to repair although a dealer should offer you a warranty if you are worried. The interior isn’t quite as well screwed together as you might think so expect the odd creak from the dashboard. The One was quite sparsely equipped as standard so look out for the Salt & Pepper packs which add alloy wheels, fog lights, rev counter and trip computer. Many other options were available so check specifications carefully. Find the right car and you’ll have a reliable, fun and stylish runaround that won’t break the bank.

     

    For: Fun to drive, economical & styling.

    Against: Expensive to buy, not overly practical & a bit slow.

  • FILM REVIEW | This Is What Love In Action Looks Like

    ★★★★ | This Is What Love In Action Looks Like

    When evangelicals try to forcibly make gay men straight.

    In 1973 the American Psychiatric Association declassified homosexuality as a mental disorder. Later that same year Love In Action was founded by an evangelical Christian ministry specifically ‘to restore those trapped in sexual and relational sin through the power of Jesus Christ’ i.e. to forcibly make gay men straight. As the oldest established ‘ex-gay’ organisation in the US, it based its whole creed on lumping pornography, sex addiction and homosexuality together but the latter was considered by far the worse sin of all.

    In 2005 their Refuge Program specifically designed to ‘cure’ young teenagers of their ‘gay addiction’ hit the national headlines when 16-year-old Zach Stark’s heartfelt cry for help appeared on his MySpace Blog. Zach had ‘come out’ to his parents and in return, they sent him against his will to be an inmate at the Camp. His plea hit a real nerve and quickly became a rallying cry for a small group of other young people, both gay and straight, who’s regular protests outside the Campus started a snowball effect and very soon caught the attention of the national and local media.

    On one hand, Pat Robertson was preaching his usual hate-ridden rhetoric, whilst on the other, more mainstream TV channels Zach ‘s story and the whole Love In Action oppressive authoritarian regime was covered by the likes of Diane Sawyer and Paula Zahn. Most of them quoted L.I.A. Executive Director John Smid, an ex-gay now married (to a woman). who bitterly defended his organisation tooth and nail not conceding to any of the real concern now being raised about these young men’s welfare.

    Stark was released after 8 weeks and initially obeyed his parents’ instructions to delete his blog and make no public comments to further fuel the fire. But by the time this documentary was made, Stark was now 18 and ready to speak up and to confirm that despite all that he went through he is now a happy and reasonably adjusted gay young man.

    In 2007 the Program was halted and not only did the Rev. Smid resign his post, but he actually took the unprecedented step of publishing a public apology to anyone who may have been harmed by the program.

    Morgan Jon Fox’s film bears witness to this shameful time in recent history and is most compelling when the interviews are with ex-patients/inmates and you can see the real pain that they were forced to endure in what are essentially the most crucial years in their growing up. It’s a testimony to their strength that they survived the ordeal, and equally a credit to the determined band of protesters who proved that standing up to be counted on when one encounters an injustice, does really work. And it’s a witness to all those poor souls that the disbandment of this whole movement came too late for.

  • THEATRE REVIEW | Blasted, Sheffield Theatres

    Sheffield Theatres opens their Sarah Kane season with Blasted, her first and possibly most controversial play. Ian, a racist, sexist and homophobic middle aged journalist, arrives in a hotel room in Leeds, accompanied by a young girl, Cate, whose youth and naivety is exacerbated by her learning difficulties. As their abusive relationship, characterised by manipulative behaviour and sexual violence, continues; a soldier bursts into the room and, through a series of shocking events, there is a shift in power, control and dependency.

    When considering how to describe this play, three words repeatedly surfaced in my mind – uncompromising, unflinching and unapologetic. Themes of control, dominance, sexual violence, manipulation and dependency are thrown at the audience in a shocking and, at times, difficult to watch play, causing you to shift uneasily in your seats and bullishly charging at your boundaries of acceptability. In line with the initial controversy when the play was first performed (where it was described as a “feast of filth”), it still has the power to not only emotionally gut punch the audience, but to be genuinely upsetting and distressing.

    In this three-hander, Martin Marquez impressed as bigoted and thoroughly unpleasant Ian, carrying a genuine air of menace and nastiness. Mark Stanley, as the soldier, complimented that performance with a restrained portrayal of a man numb from his own hatred; but I was most affected by Jessica Bardon’s performance as Cate, who carried a haunting look of vacancy which bore straight into you and lingered with you long after leaving the theatre.

    Richard Wilson confidently directs with a steady hand, not shying away from extended periods of silence or inconsequential action, but equally not shying away from the visceral and shocking aspects of the play. The set, with its hints of glass surrounding the stage, places you directly in the voyeuristic position of peering in through the hotel room window, watching events unfold; and was both visually impressive and well designed. Crucially, the pivotal moment in the play was accompanied by a jolting and effective transformation of the stage.

    Featuring very adult themes, offensive language, scenes of male and female rape, nudity and strong, bloody violence, this is certainly not a play for everyone, and is a heavy, controversial and hard-hitting piece of theatre, which I have no doubt many people will find offensive and distasteful. It is also surreal at times and contains a number of aspects which are particularly uncomfortable to watch, especially in the confined arena of the Crucible Studio.

    If you are seeking a challenging piece of heavyweight theatre, then this is a quality and technically impressive production which offers that in abundance. But whether you consider the themes explored and the events of the narrative as suitable subjects for entertainment will very much depend on your individual viewpoint. My suggestion is that you read a little about the play before you decide whether it is for you or not.

    Blasted is currently playing at Sheffield Theatres until the 21st February 2015.

    The Sarah Kane season includes all of the playwright’s works over the coming months. Full details can be found at http://www.sheffieldtheatres.co.uk/event/blasted-15/

  • RESTAURANT REVIEW | Pennethorne’s – At Somerset House

    There is something rather enchanting about Somerset House, and what a lovely setting it makes for Pennethorne’s Café Bar. Just standing in their courtyard you feel removed from the chaos of the city. Situated in the New Wing, Pennethorne’s is adorned in dramatic décor that seems to be ever so in right now. Black walls, brassy tables and dim pendant lights lined in rows. Unsurprisingly the majority of the crowd appear a little bit swanky-socialite.

    The staff are a bubbly bunch (shout out to Phoenix & Paulo for looking after us so well). Speaking of bubbles, their champagne menu is small but comprises of three carefully selected essentials; Brut (£33), Prosecco (£27), and a Cuvee (£66) made in Sussex.

    Seven PM and we appear to be the only guests eating, our waiter confirms most dining trade is over lunch period. Good to know if you prefer a quiet eat in the evenings.

    The menu consists of breads, tinned and potted dishes, salads, meat and cheese selections and items served on toast. Probably why this attracts a lunch-time crowd- but the dishes are sophisticated enough to translate into dinner. As some of the dishes are on the small side it makes good for sharing- just be aware of what and how many of your dishes come with bread as we found ourselves looking like a bakery at full swing.

    The bread was really well made (freshly baked by their in-house baker) and the menu boasts some lovely combos such as; Fig & Apricot, Bacon Brioche, and Walnut & Raisin.

    Kale was on the menu in the form of Crispy Curly Kale & Ham Hock Salad (£6). Of course we felt the need to order the kale, as much as most restaurants feel the fear that their menu without kale on it will deem them as non-foodie-friendly. Although that looks set to change with cauliflower soon to be the new kale, as said by someone as insignificant as this very sentence. A pleasant dish of warm kale, salty ham with small jewels of onion run through it. Bringing a much welcomed lightness amongst the richness of the other dishes.

    Potted Beef (£8). The meat appearing as pulled pork would, but in a cute little pot. Like the best bit of an amazing pie, tender flesh nestled amongst it’s own garlic, black pepper and red wine gravy. Sod the pot, bring me a trough. This was gorgeous.

    Another favourite of mine was from the Mortadella as part of the Selection of Meats (£16). Rosette, Mortadello and Iberico Ham all being of fantastic quality- no yucky plastic textures that a lot of restaurants tend to fob you off with. Both Mortadella and Rosette cuts had great marbling. The Iberico was smooth and melt in the mouth, but my least favourite out of all three.

    The favourite dish of our servers, and apparently a popular choice from diners, was the wild Mushrooms (£5) atop softly toasted bread. A good handful of wild mushrooms that still retained their lovely earthiness but amongst garlic and wine, and with a hint of something almost balsamic. I can see why this is popular as it all works very well together and is served in a perfectly sized portion.

    For those unfamiliar with Nduja – traditionally, is an Italian spicy pork pate and is also set to be one of our food trends for 2015. No doubt it will be popping up on menus everywhere shortly! Pennethorne’s Nduja (£4.75) smells like it will blow your mind, and it will. Expect hot lips. If you like a chilli hit, then this is your dish. We found ourselves going back for more and more of this one- addictive.

    Pennethorne’s have some real gems on their menu, and I really love the fusion of simple British traditions “…On Toast” and the tinned/potted dishes mixed with Italian influences. A bonus for garlic lovers, as Pennethorne’s love it too. The quality of ingredients you receive is great value for money.

    Sad to see no desserts on the evening menu, their breakfast menu does list pastries/muffins/doughnuts/sticky buns/bakes etc; sounds delicious! It could be well received for them to also have these appearing on the evening menu.

    Any fashion freaks visiting Somerset House for London Fashion Week this year, be sure to say hello to Pennethorne’s and go for the Mushrooms on toast, or Potted Beef.

    REVIEWED BY: Jordan Lohan
    ADDRESS: Pennethorne Cafe, New Wing, Somerset House, Strand, London, WC2R 1LA
    VENUE PHONE: 020 3751 0570
    PRICE: £££ (explained)
    STAR RATING: ★★★ (explained)
    TIPPING POLICY:

  • THEATRE REVIEW | Gods and Monsters, Southwark Playhouse

    ★★★★★ | Gods and Monsters, Southwark Playhouse

    It’s the late 1950s and ageing Hollywood director, James Whale, best known for his iconic Frankenstein films, is languishing in his Los Angeles house.

    Whale is incapacitated by a series of strokes that have left him frail and prone to crippling headaches, dark moods and memory lapses. In spite of his infirmity, he hasn’t lost any of his impish ways with young men, persuading them to swim in his pool or pose naked for portraits. Old habits die hard. Unashamedly gay in an era of repression, Whale is a singular and striking personality. Enter pneumatically muscular new gardener, Clayton Boone who becomes the object of Whale’s lust and an unlikely player in the final drama of his life.

    Whale’s life is told in a series of flashbacks that happen alongside the on-going drama; portraying the story of his childhood in a working-class family in Dudley through his horrific World War One experiences to his Hollywood career.

    The play is based on the 1995 novel Father of Frankenstein written by Christopher Bram. The the same source material was used for the 1998 Oscar-winning film, “Gods And Monsters”, starring Ian McKellen, Lynn Redgrave and Brendan Fraser. The story works as well as a stage play also.

    In terms of script, performance and production values this is a triumphant piece of theatre. Seasoned actor, Ian Gelder is magnificent as Whale. His performance hits a fine balance between comedy and tragedy and is subtly nuanced. The script is tight and in spite of the intensity of the subject matter the play never drags and is filled with finely written comedic moments. Excessively muscled newcomer Will Austin takes on the role of Boone with a surprisingly fine performance. He manages to portray a man with unexpected depths with gentle empathy and sensitivity.

    The intimate space of Southwark Playhouse and the cunning lighting, sound and set design add extra dimensions to the performance also. I must also mention that the play contains male nudity (if the fine acting and script doesn’t grab your attention then three different male nudes might).

    This really is a stand out production in London theatre and a must see.

    Buy tickets here: http://southwarkplayhouse.co.uk/the-large/gods-and-monsters/

  • FILM REVIEW | Last Straight Man

    But will he remain one, if Lewis gets his own way?

    It may be every gay man’s dream to sleep with a straight man and it’s even hotter when he happens to be your best friend too. Closeted Lewis has always had a secret crush on his best friend Cooper but has never ever let on until the night before Cooper is about to marry his girlfriend and the two-man have just drunk a wee too much at the stag party and their conversation turns to sex. All the other guys have left and as Lewis and Cooper start to clear up the hotel room where the party had been held, the talk gets dirty and personal. Well-endowed Lewis is keen and Cooper is curious and so the two end up in bed together after discovering that they both love blowjobs.

    Next day Cooper gets up and goes and gets married and lives happily ever after with his wife. Until the same time next year that is, and the two men meet up back in the same hotel room and take up where they left off. This anniversary tryst becomes an annual date in their calendar and for one night a year Lewis, previously self-identified as bi-sexual, transitions into gay, and straight Cooper still refuses to accept that he is anything else even though he lets Lewis penetrate him as he insists that they never kiss.

    What is clear though is over the next 12 years that they are both very much in love. With each other that is. One year Cooper tries to fight his feelings and refuses to show up for their date, claiming he doesn’t want to put his marriage at risk, and then in a later year when he has not only overcome his resistance, is imploring Lewis to f**k him as hard as he can. It just so happens that he may have left it too late as perpetual bachelor Lewis finally has a boyfriend and is anxious not to do anything that may jeopardise his new relationship.

    In this very likeable boy-lit movie it is interesting that although this may have started out as Lewis’s crush, it is, in fact, Cooper who is living out his fantasy. As their relationship develops it makes both men question their feelings and emotions and they learn that they cannot be easily defined in a conventional way as they accept their love for each other. It’s helped with very convincing performances from the two handsome leads Scott Selland Mark Cirillo who look comfortable in and out of the clothes.

    Be warned though before you get to the scenes of these two hunks thrashing around naked, you have to sit through the scary opening moments of the movie when the stag party stripper insists on pushing her mammoth naked breasts way to close to the camera. And I won’t even tell you about her party trick where she can pick a coin up by her … well, you can imagine.

    This cute wee drama is entertaining and amusing, although trust me, Cooper really is anything but ‘the last straight man’.

     

    by Roger Walker-Dack

  • THEATRE REVIEW | The Sound Of Music, National Tour 2015

    ★★★★ | The Sound Of Music

    Let’s be honest, The Sound of Music needs no introduction. The story of Maria, who is sent from the Abbey to look after the Von Trapp family, is one that is known to most. This classic musical is crammed full of songs that you cannot help but know the words to, such is their foothold in popular culture. “Climb Every Mountain”, “My Favourite Things”, “Sixteen Going on Seventeen” and, of course, “The Sound of Music” are all in there, but the question is, with a show which has been performed so frequently over so many years, what can a new version bring to the stage?

    Firstly, this production brings a very good cast. Danielle Hope, who made her professional debut as Dorothy in the Wizard of Oz, following winning the BBC’s Over the Rainbow program, was very impressive. Her singing voice was beautiful and effortless and her stage presence could be felt. Staying on the right side of twee, she made a very good Maria and had won me over by the conclusion of her first number. Jan Hartley utterly blew the audience away with her goose pimple-inducing rendition of “Climb Every Mountain” and Grace Chapman was equally impressive and perfectly natural in her role as Liesl. Most surprisingly for me though, was the incredible talent of the youngsters playing the Von Trapp children.

    This production also brings with it a remarkable set. Appearing grand in scale (especially for a touring production), detailed and effective, it lifts the production and makes it feel fresh.The lighting and direction were of a high standard and the addition of a live orchestra only enhanced the experience. The sound in the theatre was perfect with a superb balance of music and lyrics and the performers delivered perfect diction in every line allowing the words to be heard clearly. Technically, it was a well-put together show.
    Where the production faltered slightly was in the overly camp portrayal of (Uncle) Max Detweiler and that sometimes, especially during the party scenes, the number of people in the touring cast didn’t quite fill the stage. However, I wouldn’t necessarily hold these very trivial quibbles against such a broadly enjoyable production.

    Having seen the Sound of Music undertaken by numerous professional companies over the years I have to say that this is perhaps the best version I’ve seen. Of course it’s camp, of course it’s kitsch, but therein lays the fun and the enduring appeal of this show. This touring production seems to really revitalise the show as a whole, so iron your wimple, polish your sailors whistle and catch this production on national tour.

    The Sound of Music plays at the Sheffield Lyceum until 14 February 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour (http://www.kenwright.com/index.php?id=1440)

    By Paul Szabo

    Also playing at:
    Kings Theatre, Glasgow
    Sands Theatre, Carlisle
    New Theatre, Cardiff
    Wimbledon Theatre, Wimbledon
    New Theatre, Hull
    Milton Keynes Theatre, Milton Keynes
    New Victoria Theatre, Woking
    Hippodrome Theatre, Bristol
    Congress Theatre Eastbourne
    Grand Theatre, Leeds
    Grand Opera House, Belfast
    Bord Gais Theatre, Dublin
    The Lowry, Salford

  • FILM REVIEW | The Rewrite

    ★★★★ | The Rewrite

    I have a confession to make – I’m a sucker for a good old-fashioned rom-com. Cary Grant? Yes please! Doris Day? Just my cup of tea! Tom Hanks/Meg Ryan? I’m in heaven!

    Give me star-crossed lovers and a little “will they, won’t they” and I’m a happy bunny.

    And this vehicle for Hugh Grant gives you just that. It’s not earth-shattering, it’s not life-changing, it doesn’t answer the meaning of life but it is funny, it is warm and it is actually a good story.

    Hugh Grant plays a once successful Hollywood screenwriter, one who seemingly had it all, wife, son, glittering career, wit and charm to boot, but then, as these things will, they fade.

    The career stalls, film work dries up, the wife moves on to someone more successful and takes the son with her, and the charm and wit only go so far when your fast approaching fifty and broke.

    This is where his wise-cracking agent comes in, offering work at a small college on a screenwriting course, and off Hugh goes.

    A little far fetched, but this is a Hollywood movie, not real life. Stick with it as we watch Hugh go through the ups and downs of campus life, and also through a student or two…

    He finds his mojo for writing amongst his students, but learns quickly that the film industry is still as fickle and maybe, just maybe his future lies elsewhere.

    Hugh Grant gives his usually good performance, where he basically plays himself, Marisa Tomei plays one of his older students and puts in a solid performance playing her elfin self, and Allison Janney gives a poker face performance as a gargoylesque Jane Austin fanatic faculty member.

    I liked this film a lot, I didn’t love it and here’s why. There was something slightly creepy about a 50-year-old sleeping with students, and at times, you look at Hugh and think, is this it? What else can you do? He is starting to look out of place in this type of film, too old to be running after 18-year-olds.

    But until something else comes along, I do still enjoy him in these roles, and can’t wait to see where he goes next as he has mentioned in interviews that he wants to direct – but none of this detracts from this film, I’d see it again, and give it 4 stars!

  • FILM REVIEW | The Face of Love

    ★★★★ | The Face of Love

    You glance at the cast list and think that at last, Hollywood is acknowledging good actors who happen to be a little older than Channing Tatum. The 3 leads here are Annette Bening, Ed Harris and the late Robin Williams in a slightly left of centre love story.

    It goes like this, Annette Bening plays Nikki, an LA housewife and mother, who loves her husband, architect Ed Harris. The first part of the film shows this love while it films them on vacation for their 30th anniversary in Mexico until tragedy strikes.

    Widowed, Nikki does what you imagine anyone in that position does, they exist, get up, breathe, eat, sleep and try to form some kind of life without that special someone but without any meaning and this film shows that lack of purpose so well.

    That is until, on a whim, she drops by her favourite art gallery in LA, an old haunt from her pre-widow days and she spots a doppleganger; the spitting image of her late husband and that’s where the film goes into uncharted territory.

    I’ve read some online reviews of this movie and they aren’t kind, but I found it endearing and felt an empathy with Nikki and her web of lies as she’s negotiating a relationship with someone who looks like and to all intents and purposes is her late husband; but with a penchant for hats and less fake teeth (watch, you’ll understand)!

    Robin plays the third wheel – a neighbour, who lost his wife and has a crush painful on Nikki – a crush that comes to the surface when he makes a move and is, politely, thwarted due to Nikki’s sudden involvement with her late husband’s double!

    Her live away daughter’s reaction is a treat when she first, accidentally, meets her mother’s new lover – worth watching just for this.

    This is a lovely, delicious, silly and far-fetched movie – a Saturday afternoon treat, make yourself some popcorn, pour a wine and indulge kind of thing.

    Suspend disbelief as someone once said and enjoy.

  • THEATRE REVIEW | To Kill A Mockingbird, Sheffield Lyceum & National Tour

    ★★★★ | To Kill A Mockingbird, Sheffield Lyceum & National Tour

    Harper Lee’s classic American novel, which many will remember from their schooldays, is beautifully presented in this classy and stylistic play.

    Set in the deep south of America in the 1930s, issues of racism, prejudice and optimism are explored through the eyes of the young narrator, Scout, as she learns of the flaws in those who live amongst her in her neighbourhood and counterbalances this by watching her Father, an idealistic lawyer, as he defends a black man accused of raping a white girl. As tensions build within the small community, Scout learns about the impact of both hatred and of standing up for your beliefs, regardless of external pressures.

    Despite its somewhat heavy themes and the dramatic tension displayed on stage, the play still maintains a good mixture of very gentle humour and childhood innocence which lifted it slightly, ably aided and enhanced by a strong cast who provided universally excellent performances. In particular, Zackary Momoh stood out as the accused Tom Robinson, the young leads performed well and Luke Potter provided some delightful and atmospheric musical accompaniment. The staging of the play was impressive, with scenes interspersed with the cast members reading directly from the novel, acting in the role of narrator, before seamlessly morphing into various characters in the story as another narrator took over. The actors entered and exited the stage though the audience, and placed the audience in the shoes of the Jury during the trial scenes. The set was deliberately sparse, with simple props being used to set the scene, allowing the performances and writing to be the focus and avoiding the drama being overshadowed by being style over substance. Director, Timothy Schrader cleverly utilises these techniques to provide an absorbing and engaging presentation which draws the audience in.

    To Kill A Mockingbird is a thought provoking and timely reminder of the impact of blind prejudice and despite being written around 55 years ago, it’s themes are still pertinent today, especially when considering the persecution of the gay community in various parts of the world. Overall, this is a high-quality production which is engrossing, engaging and enjoyable.

    To Kill A Mockingbird is playing at Sheffield Theatres (www.sheffieldtheatres.co.uk) until 31st January 2015 before continuing on its national tour (http://www.tokillamockingbirdplay.com/).