Category: Review

  • THEATRE REVIEW | Kes, Doncaster Cast Theatre

    ★★★ | Kes, Doncaster Cast Theatre

    In a small, northern working class community in the 1960s, Billy Casper’s life is not the easiest. He struggles with reading and writing, is picked on at school, bullied by his older brother and neglected by his uncaring mother. With nothing in his future but the prospect of leaving school and working in the coal mine, his future is bleak. When Billy finds and trains a wild kestrel, his life begins to find a purpose and meaning. But the cruelty of life strikes him a devastating blow.

    Produced by Cast Theatre and combining a mix of professional actors and amateur performers from the area, this new production of Barry Hines’ classic novel was adapted and performed to mark Cast Theatre’s first birthday.

    Jacob James Beswick stood out as young Billy Casper, looking every bit the part of the downtrodden youngster and filling the character with a balance of dread, pessimism towards the future and occasional glimmers of optimism. Beswick garnered a genuine empathy from the audience, especially during the shows closing scenes. Sally Carman, best known as Kelly McGuire in Shameless, was in familiar territory with her performance as Mrs Casper, and the incredibly handsome Ben Burman rounded off the family as vindictive half-brother, Jud. The majority of the cast were made up of amateur performers, making this local theatre in more ways than one and providing a cast who, as a whole, were pleasingly slick and polished and who had clearly honed their skills with the assistance of their professional contemporaries.

    The set was detailed, using a combination of projected backdrops and sliding panels to create different parts of the town, keeping the presentation simple but effective. The transitions between scenes were smoothly done and the original music, composed by Dom Coyote, added just the right amount of atmosphere. The lighting was kept low key, complementing the play’s gritty and dark subject matter and the story nicely gathered pace as it progressed. However, even in the intimate theatre space, the lack of microphones led to a few moments where it was difficult to hear what was being said, but this is a minor criticism of the production overall. The show has occasional moments of light humour, which were a welcome relief but which never detracted from the story or mood of the piece and the handful of local references added a nice touch. The show was engaging, enjoyable and a worthy choice and adaptation to celebrate the success of the theatre over the last 12 months.

    Kes is currently playing at Doncaster Cast until the 13th September 2014. Tickets can be booked online at http://castindoncaster.com , in person at the box office or on the telephone on 01302 303959.

  • THEATRE REVIEW | Dracula, Northern Ballet, West Yorkshire Playhouse

    ★★★★ | Dracula, Northern Ballet, West Yorkshire Playhouse

    Jonathan Harker is a young lawyer in the employ of Dracula, who shows the Count his beautiful fiancé, Mina, and upon becoming obsessed by her, Dracula heads to the shores of England to seek her out. But following the murder of her best friend, Lucy, by the Count, Mina falls under his spell. But in an attempt to avenge the death of Lucy, Lucy’s suitors and Harker are assisted by vampire hunter, Van Helsing, to track down Dracula in a desperate attempt to save Mina from an undead eternity.

    In this deliciously dark version of Dracula, from the opening moments of a naked Dracula stepping out of a coffin swirling in mist; through to the exhilarating and dramatic ending, Bram Stoker’s tale of obsessive love is brought to life by Northern Ballet who treat audiences to a lavish and spectacular gothic production.
    The atmosphere created in the theatre was superb with the lavishly detailed, Tim Burton-esqe sets providing a beautiful and visually stimulating backdrop to the dancers, which included performers being lowered from the ceiling and raised up from the ground. The cleverly designed low level lighting added to the gothic gloom of the piece and the music further complimented the ambience with a mixture of sharp strings and angular sounds akin to the soundtrack to “Psycho”; set against a host of choral orchestrations, reminiscent of “The Omen”. As always the costumes were beautifully put together, with the female dancers flowing gowns adding to the almost dreamlike quality of the show.

    Kevin Poeung provided the performance of the evening as asylum dweller, Renfield, who seems to have a strange connection with the Count. Poeung’s physical performance was energetic and contorted and contributed to one of the highlights of the show, namely the initial scene in Dr Jack Seward’s asylum. The engagement party was also a highlight, with the company dancing beautifully together. But the crescendo of the second act was the outstanding moment of the production with an ending which proved to be a breath-taking conclusion to the piece. Ashely Dixon also impressed throughout with his performance as Jonathan Hawker.

    The ballet was a lot darker and slightly heavier going than Northern Ballet’s usual fare, but the slow burn of the first act and the drama of the second act make this a rewarding watch. For an exhilarating piece of theatre told with an accessible narrative, Dracula is a visually rich and beautifully gothic piece of ballet.

    Dracula is currently being performed at West Yorkshire Playhouse in Leeds until 13th September 2014. Tickets for Dracula can be booked at http://northernballet.com where you can also find out information about their upcoming productions for the Autumn/Winter season, many of which will be performed at different venues around the country.

  • REVIEW: Xlsior Mykonos

    The recovery time has been and gone, and now is a good time to reflect on the party festival that was Xlsior Mykonos.

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  • THEATRE REVIEW | War House, National Theatre

    ★★★★★ | War House, National Theatre

    First off, don’t hate me. Please don’t hate me, but I have to confess… I got up close and personal with Joey last night in Salford and had a great time.

    Who is Joey? Joey has chestnut hair, flowing in the breeze, he’s strong, muscular, has great legs – all 4 of them… Joey is War Horse.

    Don’t know about you, but I’d seen the images of the stage play, I’d even sat through the snoozefest that was the film, but nothing, and I mean nothing prepared me for the stage play.

    The story is so well known, I don’t feel the need to go over it here but it’s simply boy meets horse, boy trains horse to pull a plough, WW1 begins and the horror starts.

    This current touring production is at The Lowry until 20th September so you have time to book your weekend away in sunny Manchester before it travels to Stoke and then off to South Africa.

    I think the main thing that makes this production so darn wonderful is the animals – and by animals I mean Handspring Puppet Company and their puppets and puppeteers. These are some amazing creations – so articulated, so well observed, not just in terms of the look, but in the way they are manipulated and worked. Their walk, the noises, even down to their breathing… these are nuanced performances… you eventually forget about the people working them and buy into them as “real”. Watch out for the amazing flying birds, and the goose!

    That isn’t to detract from the human cast, with Lee Armstrong giving one hell of a performance as Albert Naracott who trains Joey, and then follows him to war. Martin Wenner makes up the other half of this main human duo, playing Albert’s German counterpart, Friedrich. I love how the story weaves together both Albert and Friedrich, alongside the equine Joey and Topthorn.

    This story seems to flow better than the film for some reason, the horror of battle shown better in the drawings displayed constantly on a torn paper screen, the minimalist staging ripe for touring but leaves so much to your imagination, the dirt and grime, the gas attacks, the effect on the people in occupied France…

    We were lucky enough to get to do a quick Q&A with Martin Wenner, Lee Armstrong and the horses/puppeteers after the play, and I managed to grab some half-decent images to give you some scale of these magnificent creations. (see above)

    If you can, get tickets, sell your gran if need be but go see it live – it’s a whole new world! I’ve been to the theatre quite a lot, but have never, ever seen such a reception as this cast and crew received for this production. Standing ovation? Tick!

  • FILM REVIEW | A Most Wanted Man

    ★★★★★ |  A Most Wanted Man

    In Dutch filmmaker Anton Corbijn’s take on John le Carré’s spy thriller we are very much aware of who ‘the most wanted man’ is, but like Gunther Bachmann, a German Intelligence Officer in Hamburg, we never know why he has earned this title.

    Gunther is very much the ‘good man’ in this intricate web of international spy/terrorist catching. Gruff, scruffy, chain-smoking and a fiercely independent operator in charge of a Specialised Terrorist Unit, he is trying to get information from Issa Karpov a half Russian & half-Chechen Muslim illegal immigrant before the police or other authorities can capture and imprison him.

    Karpov has escaped from a Russian prison where he was brutally tortured and he is portrayed as being the innocent victim of the fact that his father was a notorious terrorist/criminal. Via a sympathetic lawyer, Karpov leads Gunther to Tommy Brue a wealthy Merchant Banker who is trying to extract himself from his late father’s dubious clients who he has inherited. This includes Karpov Snr. who still has a major nest egg stashed away in the Bank. Gunther wants to use Brue and these illegal millions to trap a respected Professor who he suspects is the head of a cell of terrorists. Although both the German Authorities and the CIA. reluctantly agree to give Gunther time to do things his way, they obviously do not mean it at all.

    It’s a well told thrilling intricate story, although a tad confusing at times, and it keeps you completely engaged until the very end. It’s very much Gunther’s story, which is appropriate as the great Philip Seymour Hoffman plays him magnificently in this, his final movie role. I’m unsure if Corbijn actually re-edited the movie as a result of Hoffman’s untimely death which occurred after its Sundance Premiere, but anyway Gunther is rarely off the screen. It’s a powerful swan song from this talented actor and even more poignant because he plays yet another dishevelled character that seems to be such a perfect fit for him in his very distinguished career.

    The cast is made up of Rachel McAdams as the liberal lawyer/social worker, Robin Wright as the cold-hearted double-dealing CIA. Agent, Willem Dafoe as the Banker plagued by the sins of his father, Nina Hoss as the very matter-of-fact loyal assistant to Gunther, and handsome Grigoriy Dobrygin as the hunted man who is forced to decide between his life and his religion when he is made to shave his shaggy beard off.

    We came away believing the real possibility that if the Gunthers of this world were actually allowed to use Intelligence as opposed to the usual knee-jerk response of sheer brutality to try and deal with the whole scenario of terrorists, then things may even start to get resolved. And the other totally different thought ingrained in our minds as the final credits rolled, was that the world will never quite be the same after the loss of such a very fine actor.

    A Most Wanted Man opens in the UK on the 12th September 2014

  • THEATRE REVIEW | Briefs: The Second Coming

    ★★★★★ | Briefs: The Second Coming

    ‘Cirque du Soleil’ meets ‘RuPaul’s Drag Race’

    The award-winning all male, all vaudeville, all trash brat-pack return to London with their cult variety hit, Briefs.

    Briefs is a madcap safari through extravagant birdbath boylesque, too close for comfort yo-yo tricks, valiant aerial acrobatics, irreverent interludes, ferocious fanfare and show-stopping drag artistes. The line-up is disorderly, and the show is still circus-infused. Expect the unexpected in this array of satire and skills as the BRIEFS boys present London Wonderground with burlesque…with balls!

    When I entered Wonderground on London’s Southbank I was amazed and instantly transported to a circus fairground. There was music, rides and a carousel alongside countless bars and food establishments. As I waited alongside my friend in a wooden dodgem car, I heard a bellowing lady exclaim that the show was about to start and that the audience should take their seats. I travelled into the Spiegeltent and was pleasantly surprised to see comfortable seating and a proper stage. I took a seat in the second row as I knew the front row would be in for a surprise. I was greeted by men in scantily clad suits. I sat down and the show began….

    We are first introduced to Fez Faanana who is the compère for the show, a mix between Frank N. Furter and Jason Momoa, who is not your standard drag queen. Then we are introduced to Thomas Worrell who certainly knows his flexible way around a ring. A contortionist who’s incredibly cute to boot! We are then let loose in front of Adam Krandle, a most mischievous character who is very good at rendering the audience into hysterics over the most inanimate of objects. Then we see the delights of Dallas Dellaforce, a drag queen who is Queen of the Queens, taking on embodiments of Marilyn Monroe and Audrey Hepburn. Later, we see the drop dead gorgeous Louis Biggs who is only 20 years old and certainly knows how to play with his toys! Finally, we see the King of Burlesque, Mark Winmill who is the headline act and it is certainly where he belongs. He delivers a culmination of the previous acts with added extra surprises that will leave the audience thirsty for more!

    I have to say that it is one of the best shows I’ve seen in a long time. There is an effervescent mix of comedy, camp and cabaret. There are bearded drag queens, monkeys and more than enough eye candy; all blended together with an intoxicating mix of circus, spectacle and surprises.

    Final words: 100%! 5 out of 5 stars! Everyone must go see this show whether it’s for the circus, cabaret or camp elements or even to ogle at the hot half naked men. It is a show that I’m sure that will go down well for straight and gay audiences alike!

    Briefs: The Second Coming is on at the London Wonderground from Thursday 28th August – Sunday 28th September. Performance starts at 7:30 pm with a running time of around 75 minutes. Tickets prices range from £14 – £20.50 and are available here: http://www.southbankcentre.co.uk/whatson/briefs-the-second-coming-82977

    Follow the show on Twitter: @briefsfactory and #briefsboys and the boys on Facebook: https://www.facebook.com/briefsallmalecircuscabaret or their website: http://briefsfactory.com/

  • FILM REVIEW | I’m A Porn Star

    Filmmaker Charlie David‘s light-hearted rambling review of the burgeoning gay pornography industry could never be mistaken as a serious piece of investigative journalism. After speedily racing through the whole history of the business from its birth in the 1930s up to present day, the documentary focuses on four of the most successful performers today. They have probably earned the accolade of ‘star’ but then again this grossly overused title has now been claimed by everyone who has ever had a bit part in a movie or video. And there are a lot of them. In our internet based culture there now an estimated 370 million porn websites online contributing the bulk of a $13 billion business worldwide!

    All of David’s subjects are very affable men and happy enough to candidly share their views on controversial topics such as barebacking, HIV, social stigma, fetishes and escorting. The whole question of gay-for-pay was also discussed by them and not always in a positive manner. Whilst Colby Jansen’s attitude regarding his evolving sexuality was refreshingly honest, Johnny Rapid’s constant reminders of not only how straight he was (‘When I am being f..ked by a guy, I keep thinking of my girlfriend just so that I can remain erect’) became very tiresome.

    And with interviews with Ryan R a leading director (and a heterosexual) who claimed as others did that he did gay instead of straight porn because it was financially more lucrative, David never pushed him or anyone else further on this issue. The fact that there are seemingly so many straight men either side of the camera seems to indicate that as a community we still haven’t dispensed with all our internalised homophobia.

    The most likeable, and by far the most level-headed of the pornstars featured, was the young-looking 29 years old Canadian Brent Everett. He’s not only an out proud gay man, but a happily married one who also has the full support of his parents for his chosen line of work. Everett, quite a charmer, is very effusive about his very successful career and doesn’t proffer any hint of regret or become an apologist for his roles like so many of his peers. He revels in the fact that it his work is fun and that he is clearly committed to making it as entertaining and sexy as possible for his legions of fans.

    And that was probably David’s motives in making this titillating movie with its explicit scenes of sex and a seemingly endless parade of erect penises that often distract you from some of his narration. He also succeeds in making the industry look like a well-run corporate type business far removed from its old sleazy and seedy back-street image. It’s an enjoyable and diverting lively romp that will fascinate and amuse anybody with the slightest interest in the subject i.e. all gay men!

     

     

  • EP REVIEW | Batsch – Collar EP

    ★★★★★ | Batsch – Collar EP

    As a child of the ’80’s, I love synth pop, its mother’s milk to me. Give me some retro synth and I’m in heaven, sprinkle some John Foxx-esque lyrics and I’ll love you long time!

    Batsch does both – I’d marry them tomorrow if I could! This Midlands based quartet are channelling Talking Heads in their lyrical twists, their playful mix of synth, guitar and decent bass line.

    They follow up their 2013 EP “Tiles” with this lovely offering, “Collar”

    Celine is a playful tune that is very reminiscent of the early ’80’s – reminds me so much of the stuff Blitz kids listened to, early Ultravox, very early Spandau… not taking itself too seriously, but seriously enough.

    22 sounds like a good Howard Jones track with a spoonful of Aztec Camera or Lloyd Cole – the music is sparse, so you contrite on the lyrics and Batsch do a very good lyric!

    Did You Hear About Argine is a slower track, with some spoken word, nice mix of styles and a change of tempo.

    Mirrorball channels so much Lloyd Cole it’s untrue – whether it’s intentional or not. The lyrics again make this song so strong, the music, as with so much ’80’s stuff, is almost secondary.

    Can’t Tell is a change again in that it moves things up a gear and changes the tempo – showing their influences of Talking Heads and Chic!

    The band describe their sound as gutter glamour, and I’d have to agree – if you’re a pure ’80’s groupie like me, and love the sounds of La Roux, etc in terms of current acts, then give this band a go. I love hearing new music, it’s the John Peel in me… and this group don’t disappoint at all. One to follow!

    Their sounds are available from Amazon and iTunes

    I love them so much, I’d give them 5 starts for this current EP

  • THEATRE REVIEW | Autobahn, The King’s Head Theatre, London

    ★★★★★ | Autobahn, The King’s Head Theatre, London

    Regarded as one of the most celebrated American playwrights, Neil LaBute has enthralled audiences all over the world with his layered characters, sharp dialogue and subtle social commentaries. Savio(u)r return to the King’s Head Theatre after the success of 2013’s Our Town with the London premiere of LaBute’s play, Autobahn, directed by Off-West End Award nominee Tim Sullivan.

    This short-play cycle follows colourful, complicated people making their way across America’s highways and their stops, starts, and stalls along the way. The London cast includes Sharon Maughan (Holby City, The Bank Job, She’s Out of My League), Henry Everett (Michael Grandage’s (A Midsummer Night’s Dream), Tom Slatter (Robot Overloards), and Zoe Swenson-Graham (Our Town).

    This cycle of seven short pieces stretching over 2 hours 10 minutes (with an interval to catch your breath) consists of scenes of people in cars. The stark set is a disembodied half of a car with a background scene projected on the wall and the 4 actors take various roles in the vignettes. Some of the pieces are total or almost total monologues with little interchange between characters whereas others are sharply written well-performed two handers.

    The concept of two people talking as they sit in a car might not fill you with excitement but the skill of the writing and the intensity of the dialogue soon drags you in. These are nasty stories at times with LaBute’s characters having only a thin veneer covering their insecurities, betrayals and crimes. Unfaithful wives, psychotic girlfriends, unrepentant addicts and willing abductees abound in the dark world that is depicted, yet at times the plays are also painfully funny.

    The cast are excellent and really bring life to the disparate and often desperate characters. This is a really unique theatre experience. The last outing for a LaBute play (Bash Latterday Plays at The Old Red Lion) ended up transferring to the West End. Catch this stellar production while you can. It deserves a wide audience.

    Autobahn runs until the 20th of September 2014

  • FILM REVIEW | Ballet Boys

    Ballet Boys is a feature length documentary that follows in the footsteps of three adolescent male dancers as they are about to graduate from the Norwegian Ballet Academy and move on to the next stage of their training. ★★★

    CREDIT: Ballet Boys

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  • THEATRE REVIEW | Quentin Crisp: Naked Hope, St James Theatre, London

    ★★★ | Quentin Crisp: Naked Hope, St James Theatre, London
    “I became one of the stately homos of England.”

    From a conventional middle-class Surrey upbringing to global notoriety via his autobiography “The Naked Civil Servant”, Quentin Crisp was an extraordinary raconteur and wit. This new production, making its London premiere after an Edinburgh season, shows Quentin both in his beloved but squalid Chelsea flat as the 1970s dawn, and in his final years in his adopted New York, with the new millennium beckoning.

    The show draws on Quentin’s own writing and performances in a new script by Mark Farrelly, who also performs (West End credits include Who’s Afraid Of Virginia Woolf with Matthew Kelly). He is directed by the renowned Linda Marlowe, who has won awards for her own solo work such as Berkoff’s Women.
    Quentin Crisp was an extraordinary character. Sharp-tongued, controversial and seemingly fearless. Born in an age when gay sex was illegal and liable to land you in prison, he embraced what he was: a flamboyant and effeminate homosexual. Facing ridicule, beatings and scorn as well as the ardour of men in the back alleys of Soho, he became a notorious character. With the publication of his autobiography and subsequent television film of this, starring John Hurt, he took infamy and his waspish wit to a much wider audience. His one-liners were legendary as were his regular television chat show appearances.

    Alienating the gay rights movement of the 1970s and causing furore with flippant comments about anything from AIDS being a passing fad, homosexuality being a terrible disease and his views on Princess Diana, perhaps more shockingly, the seemingly very English based institution, moved to New York and made his home there in his later years.

    Farrelly’s play has strengths and weaknesses. He manages to capture some of the wit, acidity and pathos of Crisp but at times this is slightly patchy. The script is stronger in the first half when Crisp is shown alone in his London flat, addressing the audience as he postures and quips with the thin veneer showing some vulnerability beneath. Although physically much sturdier than Crisp, he does manage, mostly, to convey an essence of Crisp’s character and demeanour. The second half, where Farrelly depicts Crisp performing in New York just before his death, felt much weaker with the relentless round of bon mots becoming a bit tired and the audience participation element feeling a bit unnecessary to the show. I did, however, laugh quite a lot and it was good to be reminded of some of Crisp’s better one-liners in this well-researched show.

    Quentin Crisp: Naked Hope is on at St James Theatre until the 7th of September 2014

    Buy tickets here: http://www.stjamestheatre.co.uk/events/quentin-crisp-naked-hope/

    The show will also be touring the U.K. from October with shows at Greenwich, Cardiff, Dundee and Hemel Hempstead.