THEGAYUK

Category: Review

  • MUSIC REVIEW | Seven, by Lisa Stansfield

    And about bloody time too! Finally, after 10 long years, she’s back – but by god, it was worth the wait. Seven, Lisa’s seventh album, gives us 10 tracks that make you cry, make you dance and make you glad you have ears!

    The latest two releases form the album, “Carry On” and “Can’t Dance” give you an overview of what to expect…..that soulful voice, that range, the soaring strings, the….well, you get the picture.

    During my recent interview with the lovely Lisa, I stated that she had a sound, an instantly recognisable sound and the moment you heard that first intake of breath, you knew it was her and on this album, she doesn’t disappoint.

    She has a discernible style, and it ageless – like all true style. She’s the Chanel suit of music, the Little Black Dress of soul.

    Seven is full of soul and R&B, the stuff that Lisa is known for, the stuff she does best.

    “Can’t Dance” showcases Lisa’s amazing vocal range and has a wonderful ’70’s disco feel, very Chic.

    “Why” has a sexy, soulful and pared down introduction, with a big band finish! Feels very Westside Story – full of playful lyrics, flutes and strong vocals both upfront and backing.

    “So Be It’ and “The Crown” feel very old school Lisa, slinky and soaring.

    “Stupid Heart” would make Patsy Cline proud – its the kind of lyric that makes you listen, forces you to take in every word, and feel every emotion.

    “The Rain” and “Picket Fence” are beautiful songs, expertly crafted, sung by a commanding voice.

    “Love Can” and “Conversation” remind us that this woman sang some of the best slow numbers of our youth – and that she has the ability to bring you to tears!

    “Carry On” is a toe tapper and no mistake! I defy you not to dance round the coffee table to this one!

    Lisa has done what she always does, mixed it right: the right amount of upbeat versus slow down, the right amount of big band versus pared back.

    This album is a rare thing – each track feels truly handcrafted, each word carefully chosen and each note pitch perfect all with no filler, no fluff.

    Lisa is back and we’re all the richer for it.

    Lisa Stansfield appears in our Feb edition of TheGayUK, out first week of Feb 2014

  • FILM REVIEW | Inside Llewyn Davis

    ★★★★ | Inside Llewyn Davis

    Poor Llewyn is both a loser and a user. Nothing is safe in his hands as his life careers from disaster to disaster whilst he goes from crashing on couch to couch in his long-suffering friend’s New York apartments. He even manages to lose one of his host’s cat that he lets escape into the streets.

    Inside Llewyn Davies is the Coen Brother’s wonderful take on the early 1960’s folk music scene in Greenwich Village that focuses on good-looking 30-something year old Llewyn whose songs are as bleak as his very messy life. He treats everyone so shabbily that it is a complete surprise that anyone puts up with him at all. There’s Jean, who sings with her husband Jim when she is not sleeping with Llewyn and half of the folk club circuit. She blames Llewyn for her pregnancy and although he unquestioningly accepts responsibility for paying for an abortion, in reality it may not even be his child.

    There’s Joy his resentful sister who allows Llewyn to crash in the Long Island house that had once been their childhood home just so that she can nag him to give up singing and go back to being a merchant seaman. And in uptown Manhattan, there are the Columbus scholars the Gorfiens whose cat he loses, but it also turns out that they were the parents of Llewyn’s late singing partner who jumped to his death from the George Washington Bridge.

    Everybody on the folk club circuit is enjoying more success than Llewyn even though he think he has much more talent, but he fails miserably to earn their respect or worthwhile gigs or even a decent Agent.

    Why such a depressing tale should be so watchable is totally down to the Coen’s obsessive attention to detail. It’s a glorious period piece shot in smoky hues that makes it feel like a black & white movie that has been hand tinted with some color. The acting from this incredible ensemble is top-notch but the production design and cinematography deserves star billing too. The fact that we get so engaged in watching the story of a loser is because he is played by a remarkable relatively unknown actor Oscar Isaac (and local Miami boy) who was nothing less than sensational in this his first ever lead role.

    Rounding out the cast were the superb Carey Mulligan and Justin Timberlake as Jean and Jim, Garret Hedlund as Johnny Five, and John Goodman playing the obnoxious loud-mouthed Roland Turner.

    My initial reaction after viewing this, was one of stunned silence as I had simply not been prepared for what a downer the actual story was. Now on reflection, and I am wallowing in the memory of the sheer pleasure of what a powerful character study of such a flawed character it was in such a magnificent set piece. And lest I should forget there was all that music too that had been ex-produced by none other than T Bone Burnett.

    It won the Grand Prix at Cannes Film Festival earlier this year and is unmissable, as it could even be the best Coen Brothers yet. And that is really saying something.

     

    Available to buy / view on: Amazon | Amazon Prime | iTunes

  • FILM REVIEW | The Cat

    ★★★ | The Cat

    The Cat is a Korean horror film which tells the story of a young woman, So-Yeon, who is an animal groomer in a pet parlour. Following the death of one of her customers who dies in a lift, she cares for the abandoned cat found next to the body. But So-Yeon soon finds herself haunted by the ghostly figure of a young girl with cat like eyes and as people around her start to die in small spaces So-Yeon tries to uncover the truth about the link between the cat and the violent deaths of those around her.

    The Cat was very typical of the Asian horror films which have become more popular over the last ten years or so. Films like The Ring, The Grudge, A Tale of Two Sisters and Dark Water have brought the Asian film industry to the attention of the West and this film is a good, if standard, example of the ghost story genre. It has all of the elements you would expect in such a film – a ghostly figure, a few jumps, a slow build of the tension and an uncovering of the truth behind the shadowy figure. Whilst the structure of the story was nothing ground-breaking, it held your attention and built to a satisfying enough conclusion.

    Overall, the film is a slow burner, with the story gently unfolding throughout the first two thirds of the film before reaching its denouement and revealing the reason for the hauntings. Those expecting an all-out action packed gore fest will be disappointed, but for those who want a decent ghost story and something more atmospheric, there are some nice set pieces (as some of the characters meet their demise) and the ghostly figure of the little girl comes across as both menacing and creepy at times.

    Overall, the performances of the cast are perfectly functional and the special effects are muted but effective. However, viewers should be aware that throughout the film there are some scenes of animal cruelty, which may make uncomfortable viewing for some people (although the film very clearly states that no animals were harmed in the making of the film). Also, the film is subtitled, which may also put off some people, although it shouldn’t. If you have never seen an Asian horror then this is a decent enough introduction.

    Available to buy / view on: Amazon | iTunes

  • RESTAURANT REVIEW | Arbutus Frith Street Soho (CLOSED)

    Choosing a restaurant in Soho after a couple of gin martinis is like a one-sided game of Battleships. You take aim at the heart-of-London’s gridded streets and often miss, leaving your peg sitting in a tasteless hole. Another evening, another game you fire and it’s bull’s-eye. A peg in a ship suggests a revisit. But what if you’ve hit a piddly patrol boat? Your second hit will sink that tiny ship. It was the competent chef’s shift on your first encounter.

    But every now and then you strike an aircraft carrier that can withstand numerous blows and stay afloat.

    The vessel HRH Lady H and I targeted one finger-numbingly cold January night was christened Arbutus. An aircraft carrier that sails Frith Street. This was my third meal there and she’s still holding her head above water.

    We hiccuped our way through the doors of the one-Michelin-starred gaff, and were greeted by a foxy Marilyn Monroe look-a-like. Marilyn playfully ummed and ahhed, then dangled the eatery’s last table in the air as if it was a toy mouse and we were a pair of mischievous Persian cats. Once she’d made us purr we were led to the table.

    The restaurant is intimate and narrow. The white walls are mostly lined with old black and white photos of city life. One could be sitting in the National Portrait Gallery during a Robert Frank exhibition.

    Lady H’s attention was drawn to the other bums on the banquettes rather than the menu at first. HRH has a penchant for young chaps sporting a crisp white shirt with a subtle hint of Dries Van Noten on their person.

    The frolics didn’t end at reception. Lady H ordered two glasses of Davenport East Sussex bubbly. Our pretty waitress smiled and teased us with the idea of a whole bottle. I dug my Paul Smith calf leather Wallace’s heels in. Deux glasses it was.

    Davenport Limney Estate is as French as us Brits get when it comes to fizz. Much like south-Londoner John Galliano’s final spring/summer collection for Dior.

    Lady began with the Scottish white crab, confit egg yolk, avocado guacamole and brown crabmeat crackers. The ocean fresh crabmeat was mild and sweet. The combination of textures from the runny yolk, crunchy cracker and distinctively strandy crab worked.

    For my entrée shoulder of Elwy Valley lamb and Herefordshire snails ‘lasagne’. The scallop like texture of the snail was slightly overpowered by the lamb. I needed to season this dish. The pea green sauce was about as memorable as the Liberal Democrat’s latest policies.

    To wash down the mains a bottle of The Flower and the Bee (La Folora y la Abeja). Ribena-like with a spicy bite. Utterly drinkable.

    I followed with young Scottish pheasant cooked in hay, with quince jam and cauliflower, with a sausage roll on the side. If the West Cornwall Pasty Company churned out meaty tubes of perfection like this every day I’d be using a different belt loop. The sagey bird came alive with the tart undertones from the jam.

    HRH chose the grilled piece of beef with charred calcot onion, toasted buckwheat and Pomme Anne spuds. I had food-envy slapped across my face like Jordan wears make-up. Your neighbour’s Ford Mondeo is aways shinier. The potato was buttery and rich. A treacly saltiness seeped from this addictive beef.

    To end we shared a selection of cheeses that Borough Market would have been proud of. To accouplement Graham’s 10-year-old port – vibrant, oaky with a nutty bouquet.

    Not as cost effective as eating on the Ark. You’ll need a squadron of Navy officers wages to dine for two on Arbutus’s decks. But she’s worth a hit.

  • THEATRE REVIEW | The Gay Naked Play, Above The Stag

    ★★★ | The Gay Naked Play, Above The Stag

    Dan (Alexander Hulme) is director of the Integrity Players, a small off off Broadway group of players dedicated to “great art”. The company also consists of his loving (and very pregnant) wife Amanda (Stacy Sobieski) and their friend and leading actor Harold (Lucas Livesey). They have lofty ambitions and a staunch refusal to compromise , but they have one problem. Tiny audiences. And when their sole and major backer, who just happens to be Amanda’s Machiavellian mother Imelda (Ellen Verenieks) withdraws her support, they have an even greater problem. No money. What are they going to do?

    Enter Eddie Rossini (Christopher Woodley) and his two cronies, T.Scott (Robert Hannouch) and Edonis (Toby Joyce). Eddie proposes a trashy homoerotic stage version of Mel Gibson’s “The Passion of Christ” starring porn star Kit Swagger (Matthew Ferdenzi). It’s a sure fire commercial hit, but will the Integrity Players give in to financial pressure and in so doing lose their integrity? I’m not going to give the game away, but I think we can all guess the answer to that one.

    Adam Bell’s play is a witty and often hilarious comment on the eternal conundrum of artistic compromise; popularity versus art. The writing itself is often really clever, abounding in quips and one-liners that wouldn’t have been out of place in an episode of “Will and Grace”.

    My problem was more with the execution. Director Andrew Beckett has allowed too much of the play to be played on one level, with actors shamelessly mugging and playing too many of their lines out front. The often hilarious antics of T.Scott and Edonis would have benefited from a greater contrast with their boss, Rossini, but he too was encouraged to overplay much of the comedy, which resulted in a lack of contrast. Surely underplaying the role would have made it even funnier. It’s a shame, because the play is a lot of fun, and I feel sure that this cast had it in them to deliver a much more multi-faceted performance.

    That said, the audience on opening night enjoyed themselves enormously, and nobody was complaining about Matthew Ferdenzi getting his kit off more than once. Maybe it will settle down a bit in the next few performances.

    The Gay Naked Play is on at Above The Stags until 16th Feb 2014

  • BOOK REVIEW | The Heart & The Hand by Dean Harkness

    I know, I know, I can be flippant, I can be irreverent, and I can be rude – but for this review, I’m parking all those trait and reviewing some of the most beautiful poetry I’ve ever read.

    This book is simple, no blurb, no foreplay, no preamble, its straight into the work with some of the simplest and most intelligent words I’ve read

    Take the poem, “Five Little Words”, which does exactly what it says, it plays with the placement of the five little words: This is a love poem……it changes the meaning, plays with its audience, forces you to ask questions, who is its audience?

    “Cemetery” in nine lines sums up loss and death, how we who are left to visit graves feel, how the place makes us feel, what it means to loose someone or something and place them in the ground.

    Dean choose words carefully, as if they were rationed, it feels very Haiku, very Japanese but with very western subjects.

    Take “People Strutting” – it evokes Saturday Night Fever, Tony strutting in his too tight jeans, winkle picker shoes and unbuttoned shirt, off to pull some stranger at the disco….all this in only five lines.
    “Film of You” made me cry… a story of love ended, images gone, a story of film not files, sending things via snail mail to get physical images back……….it speaks to me and my generation of how we felt, how love felt back in the day.

    Dean is something of a renaissance man, a true artist not just with words, but as an illustrator, with images too. if you can, follow him on twitter. I do like that there are no images here, the words paint a picture clear enough, no images needed in this book. Dean does a clever thing and lets his words speak volumes

    And to turn things on their heads, to lighten the moods, we shift on to “Brits in Summer” which reads like an episode of Benidorm on ITV. It sums up us Brits at our basic levels, lobster red, label whores, everything display….

    “Media Sex” reads like an indictment of our age, how everything is lived in the glare of publicity, nothing is sacred anymore, nothing is kept private, we all clammer for publicity, adoration, and are willing to sell the most private details for a column inch in the next days paper or someone else’s blog…….

    “Homeless Man kicked to Death” could read as a headline in any local paper, but instead makes you think about how easily we accept these things. How we are immune to what it must be like to be on the streets, what these people face each and every night. The threats, the drunks, the risks…..

    Dean is a poet that makes you think, and not always about the good stuff, not always about lost love or feelings, but also about the underbelly of society, the people and things you pass by every day, the news stories you may not want to see. And always with an eye on the word count, never using two where one will do, wary of overly decorative narrative….
    Take my advice, read this book, you wont be disappointed. The price belies the content – less than £1 for pages of enlightenment.

    BUY FROM AMAZON

  • FILM REVIEW | The Wolf Of Wall Street

    ★★★★ | The Wolf Of Wall Street

    Leonardo DiCapro Shines in his latest offering The Wolf Of Wall Street.

    Despite its 3 hour run time, The Wolf Of Wall Street managed to entertain – with only one glance to the watch to check on the time.

    Following the true story of Jordan Belfort, the film documents the rise and the rise and the eventual fall (but not so hard) of a man who sells penny stocks for over inflated prices – and getting rich, very rich in the process.

    Drug fuelled, sex driven and money mad Belfort – slams from Pillar to Post, whipping up a moneyed frenzy in his wake. If you ever want to hear on how to sell anything to anyone, The Wolf Of Wall Street offers an insight into the inner machinations of Wall Street and Stock markets.

    Some are saying that the film is glorifying Wall Street and some of its seedier tradings – and I would have to agree, but ultimately, as Belfort says ‘Everyone wants to get rich…’

    There are some real comic genius moments – if you’re a fan of Absolutely Fabulous – DiCaprio pulls off a comedy fall from a helicopter into bushes and then into a pool, that Joanna Lumley’s (who also stars) and Jennifer Saunders’ Eddy and Pats would be proud of.

    Ultimately a great performance from DiCaprio, who takes on the role with an unshakable prowess.

    Available to buy / view on: Amazon | Amazon Prime | iTunes

  • FILM REVIEW | Ausgust: Osage County

    ★★★★★ | August Osage County

    Violet Weston is one acid-tongue angry old lady who misses nothing that goes on in her family and she insures that none of her nearest and dearest escape her unbridled wrath. Well, her husband Beverley an alcoholic and rather melancholic poet does, but his method is quite extreme as he disappears out of the blue, and then the police locate his body after he has taken his own life.

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  • THEATRE REVIEW | Dreamboats And Petticoats, UK Tour

    ★★ | Dreamboats And Petticoats

    Dreamboats and Petticoats transports the audience back to the early 1960s where two young friends, Bobby and Ray, spend their evenings at the youth club hanging around with the local band. Bobby auditions for the role of lead singer but is beaten to the role by Norman, the new guy in town and a suave ladies’ man, brimming with self-confidence. Bobby has a crush on Sue, Sue has a crush on Norman and Laura, Ray’s sister, has a crush on Bobby. With the announcement that there is a national song writing contest on the horizon and every one dying for fame and fortune, their lives, loves and song writing partnerships are played out against a belting Rock ‘n’ Roll soundtrack.

    This jukebox musical has been successfully packing out theatres both in the West End and around the country for a number of years and upon watching it, you can easily see how it appeals to its target audience and how the sense of nostalgia and the sentimental glance back to the 60s, resonates with those who lived through the time. The show references those things from the audience’s childhood and serves as a nod to more carefree days where the lure of American culture beckoned and music was breaking new ground.

    The show itself is bursting with a relentless barrage of classic Rock ‘n’ Roll songs – around 40 in total – and it’s hard to deny that the selection of songs are balanced in terms of the upbeat numbers and the ballads. Songs such as “Let’s Dance”, “Bobby’s Girl”, “Do You Wanna Dance”, “Let’s Twist Again”, “C’mon Everybody” and “Teenager In Love” all make an appearance and do get the feet tapping. The songs were impressively performed by the on stage band, with many of the cast playing numerous musical instruments and a couple of the songs being accompanied by enjoyable ensemble pieces.

    There were, however, a number of flaws in the show. The predictable plot and clichéd characterisations were paper thin and served mainly as a link from one song to another. The production of the show was very basic, with a largely static set, minimal props and uncomplicated choreography; the volume of the music far outweighed the vocals for the majority of the show and the microphones for the cast were frequently tuned on after they had started their lines. The show came across as a cabaret performance and you had to wonder whether putting the story to one side and having a musical revue of Rock ‘n Roll songs, in the same vein as “Thriller Live!” would have been a better idea.

    But despite its basic appearance, the appeal of this show is the nostalgia for an older audience and the music. For those who like Rock ‘n’ Roll, they will enjoy the almost constant musical numbers. The show does finish with a mini concert which had the audience on their feet and the resounding cheers and applause suggested that the audience had thoroughly enjoyed the show as a whole. However, this show sadly lacked style and substance over and above a decent band and a soundtrack of classic songs.

    The show is currently at the Sheffield Lyceum Theatre until Saturday 18th January 2014 (details can be found here www.sheffieldtheatres.co.uk) before continuing on its national tour. Details of the tour can be found at www.dreamboatsandpetticoats.com

  • THEATRE REVIEW | Putting It Together, St. James Theatre

    ★★★★★ | Putting It Together, St. James Theatre

    The original New York production of “Putting It Together”, a musical revue created by Julia McKenzie and Stephen Sondheim, starred none other than Julie Andrews. This first London staging of the show is much like Ms Andrews’ famous character Mary Poppins: practically, perfect in every way.

    If you already love Sondheim then this is a rare treat, with a chance to see a whole host of his songs performed to a stunningly high standard. If you don’t know Sondheim’s work then this is a brilliant way to get to know his style and revel in his wit and panache.

    From lovelorn, embittered and angry, through to wistful, longing and hopeful, the song selection covers a huge range of emotions and facets of the terrifying and perplexing thing that is human relations. The cast selection is staggeringly good too. Listening to David Bedella’s voice is like sipping smooth Bourbon, whilst Janie Dee manages to pack pathos, rage and comedy into every word (and what a lot of words some of the numbers contain). Damian Humbley, Daniel Crossley and Caroline Sheen make up the rest of the strong five-person cast and all do more than justice to Sondheim’s numbers with amazing vocal talents, backed by a skilled sextet of musicians.

    The show cleverly utilises a diverse range of songs as the audience watch the progress of a couple as they undergo a tempestuous night at a cocktail party. The audience last night certainly loved the show and there was a standing ovation with rapturous applause.

    I can’t recommend this enough. It’s on for a strictly limited 3 week run until the 1st of February

    Buy tickets here: http://www.stjamestheatre.co.uk/events/putting-it-together/

  • SINGLE REVIEW | Shakira Ft. Rihanna I Can’t Remember To Forget You

    What do you get when you mix one of Latin music’s biggest female stars with one of the hottest stars on the planet at the moment? Well, the answer is, ‘I can’t remember to forget you’ the new collaboration from Shakira and Rihanna! On Monday the 13th of January, after Rihanna hinting only a week before on her Twitter page that it might be happening, something extremely exiting happened. Fans didn’t have long to wait.
    This up-tempo song is a blend of Latin, Reggae and Pop-Rock. The verse begins sounding Latin pop with Reggae induced RnB beats and soon morphs into a guitar heavy chorus that sounds more signature Shakira. I was a little worried with both gals having a bit of an accent of how it would sound but it works perfectly. Shakira’s odd but brilliant vocals deliver the lyrics “But when you look at me, the only memory, is us kissing in the moonlight”. Rihanna then pipes up, in the second verse, singing “I go back again, fall off the train, land in his bed, repeat yesterday’s mistakes” in her cool, edgy and fun voice with her accent sounding more Bajan than ever.

    The song is about a woman who knows she should forget all about her undeserving man but can’t help but fall back into his arms. You could be forgiven for thinking Rihanna was referring to her turbulent relationship with Chris Brown but I doubt the songs intention is to dig that deep. This is a fun, pop anthem with two of music’s hottest babes.

    The artwork for single is equally as exciting. Shakira with her blonde locks tousled over one shoulder and minimalistic make up looks simply stunning! Rihanna, her dark, bouncy curls lying over Shakira’s lap looks smouldering with her blood red lipstick and cleavage aplenty!

    This will be the debut single from Shakira’s long awaited, untitled album and is already storming the charts. It’s her first single since ‘Waka Waka’ the song she wrote for the 2010 World Cup. The Columbian goddess is no stranger to a savvy collaboration. Since her 2001’s triple platinum album ‘Laundry Service’, she has teamed up with Beyoncé, Pittbull, Dizzee Rascal and who can forget the fabulous, belly-dancing, bum shaking ‘Hips don’t Lie’ with Wyclef Jean. The judge from The Voice is back again and she aint messing around. “It was utopia. She’s the sexiest woman on the planet.” Shakira tells Glamour magazine on working with Rihanna. She’s a crafty one is our Shakira. RiRi can do no wrong at the moment, she is music royalty, at the top of her game and manages to add a little sprinkle of Bajan magic to anything she touches.

    This song certainly does what it set out to do and that is to tell the world Shakira is back!
    Is it as good as her 2007 collaboration ‘Beautiful Liar’ with the bootylicious Beyoncé? I will let you decide!