THEGAYUK

Category: Review

  • THEATRE REVIEW | House of Burlesque

    ★★★★ | House of Burlesque

    International burlesque sensation Tempest Rose’s House of Burlesque is an evening of comedy, circus, music, politics and, yes, several beautiful ladies wearing very little. Above all else though, it’s an evening of glamorous, decadent fun.

    The first thing to strike you as the introductory group dance starts is the sheer variety of shapes on view – not just wafer thin model types; these are real ladies with real ladies’ curves, and the evening is all the better for it.

    Tempest Rose has a natural warmth which suits her role as ring mistress perfectly. Her humour and quick wit, combined with a touch of sass and oodles of sex appeal, hold the audience in the palm of her perfectly manicured hands from the very moment she takes the stage. She has a voice as smooth as velvet and her rendition of Nirvana’s “Smells Like Teen Spirit” is one of the most beautiful covers I have heard.

    The first solo performance comes from Betsy Rose, who gives us a military themed routine, moving in perfect unison with the beat. This is a lady who knows her body and how to work it to both excite and entice her audience, striking just the right level of suggestion and sexuality.

    The wonderfully expressive Audacity Chutzpah slips from one persona to another with grace during a routine that is as comedic as it is political. As she charts the women’s rights movement through the decades, one cannot help but think that if all history lessons were like this, a lot more people would take note.

    Rapidly becoming a firm favourite of mine, the delightfully sensual Jolie Papillon performs a peacock routine that shows her off to her very best. This girl can move, and does so with a sensuality and provocative grace that is undeniably erotic. Also, as if purposefully, her peacock tail gives me the feathery fabulousness I so desperately crave, thereby restoring my gay credentials for a review in which I’m aware it sounds like they’re rapidly diminishing!

    Proving once and for all just how hot burlesque can be, Trixi Tassels enters in a black leather trenchcoat and demonstrates within seconds the command she holds over her audience. In a perfectly choreographed fire-based routine, the seams of her clothes simply melt away.

    Other excellent performances on the night come from Leonie Soprano (the vanishing showgirl), Jo Foley and Graeme Clint (comedic acrobatic trapeze duo) and Chloe Hannah Lloyd (hula hoops). All acts were ably assisted by the “Stage Kittens” Fille J’adore and Gracie Disgrace.

    Whatever your persuasion; whether you fancy men or women, both or neither, or any variation thereof, this is a deliciously decadent night that dazzles and delights all who attend.

     

    House of Burlesque returns to the London Wonderground on September 5 and 11. Tickets are £15.50 from www.londonwonderground.co.uk/houseofburlesque

  • TV REVIEW | Orange Is The New Black

    My Mother always warned me about the dangers of drugs, but she never warned me about the dangers of instant television. Most of my free days at University would be spent binge watching television shows and I would even sometimes pretend to be asleep so I was not disturbed during the fifth season of How I Met Your Mother.

    Whenever one of my favourite shows is cancelled I hope Netflix saves it like it did The Killing or Arrested Development. With this in mind, I was excited when watching the trailer for their original series Orange is the New Black.

    The montage of a variety of woman sold the show to me, and the series lived up higher than its expectations. With Piper Chapman (Taylor Schilling), the unlikely criminal protagonist set among the backdrop of criminals and an introduction to her ex-girlfriend (Laura Pepron) makes an interesting show.

    Unlike most shows that use prison as a setting, Orange sets a different genre. In comparison to others the show focuses on different characters emotional and psychological challenges, their survival, their love and hatred. Mostly it is set around Piper and her adapting to the way prison is run and overcoming issues with other characters such an angry head chef and crazy eyes.

    If you are still reading this and haven’t signed your life away to Netflix I will give you some reasons why you should:
    • Taylor Schilling is an amazing actress. Even though the show revolves around her life and adjustment to prison it also focuses on the impact it has on her engagement to Larry (Jason Biggs). As the show progresses the other inmate’s storylines become stronger and the audience invests emotions into this. Equally, each characters story is heart breaking and important.

    • Laverne Cox is a brilliant actress, although as a transgender woman herself the issues her character portrays don’t involve acting. I found it more interesting her twin brother played her former male self in the show. With one of the main themes is sexuality there are a variety of bisexual, homosexual, transgender and straight relationships to sink your teeth into.

    • The show does not ignore issues within the prison system and brings them directly to the viewers’ attention. The show leans on racial disputes, employee’s using their authority for sexual favours and those at the top who fiddle the system.

    • Minus the moments where you have to laugh, I can imagine this is what prison is like (or wish). It shows that Jenji Kohan done her research when creating this and I have learned a lot if I ever find myself in prison. I know not to annoy the chef or upset a prison wife.

    • Once you start watching it, as the plot twists slightly you become more intrigued to watch more. Each character surprised me in some way and either left me moved or laughing.

    The best part of Orange for me is that you can watch it all at once. I am glad Netflix are catering for those of us that are unable to follow a show for a number of weeks even if it does mean that your live tweeting and water cooler chat is limited due to others not keeping in time.

  • THEATRE REVIEW | As Is, Finborough Theatre

    Twenty-five years ago, the gay population in the USA was facing an unprecedented medical crisis, one that threatened to kill off the entire community.

    A new disease had immerged, its origins were little known and any sort of cure or treatment for its symptoms was still a pipedream too far for all of its victims. By 1987, the year As Is first played in London, Act Up, (the Aids Coalition To Unleash Power) reported that over 41,000 people had died because of this new virus, HIV, which essentially killed the immune system, leaving the person unable to fight off disease and infections.
    From this tragedy some incredible human stories were unfurled, astonishing artwork and heartbreaking literature was created out of the despair that was the 1980’s Aids epidemic.

    As Is, written by William M. Hoffman, is reportedly the first of a long line of awarding winning plays which hopes to explain the suffering that this ravaging thief of a syndrome caused; not just to it’s eventual victims, but the people who were around to see their once vibrant friends, family and lovers die, one by one in unimaginable pain.

    The story centres on the rekindling relationship between two ex-lovers Rich (Tom Colley), a young writer, just about to enjoy the success of his writing and his long-time lover Saul (David Poynor), a professional photographer. After Rich discovers that the disease that has destroyed so many of his friend’s lives has struck him, he returns to Saul for sanctuary.

    Both Colley and Poynor offer up extraordinary performances, the frustrations and imprisonment of both Rich and Saul’s situation bubbles through their words and actions. Their combined anguish is palpable and fiery, but amidst the anger, there are moments of pure intimacy, beautifully played and honoured.
    The ensemble cast are outstanding particularly Anna Tierney, who plays a variety of roles. Her more understated performance was a humbling reminder that not every PWA (person with Aids) was a gay male living in New York, but sometimes, as the syndrome drove its way into traditional America, a mother-to-be, caught up in the nightmare.

    The spirited supporting cast includes: Tom Kay, Paul Standell, Clare Kissane and Jordan Bernarde, who offers a breakthrough performance of a brother coming to terms with his sibling’s demise. Stylistic ensemble set pieces, keeps As Is’s aging gay references contemporary, by giving them tongue-in-cheek nods to caricatures we know, love. The fluidity of the cast’s reaction to the drama is a thoughtful way to ensure that today’s audience easily assimilates the play’s sometimes-dated and American centric humour.

    Beneath the surface of Andrew Keates’ direction lies a pacey, raw anger. Each line and utterance demonstrates one of the most honest emotions to emerge from the Aids epidemic in the 80s. The show’s design, by Philip Lindley, is a perfect metaphor, mirroring the end stages for the victims of Aids and the government’s inactivity in responding to the crisis – a crumbling building, dying from the inside and largely ignored.

    It’s almost impossible now for this generation of gay men to imagine losing their lovers and closest friends to an unstoppable virus – the frustrations of the 80’s gay community seems so distance, yet in the mere 25-year time lapse from this play’s first outing in London, it still feels fresh, raw and vitally important.
    As If runs at the Finborough Theatre until 31st August 2013
    http://www.finboroughtheatre.co.uk

  • THEATRE REVIEW | Titanic, Southwark Playhouse

    ★★★★ | Titanic

    It’s always difficult to reinterpret a story we all know as well as that of the Titanic – certainly, the ending can be no surprise (SPOILER: THE SHIP SINKS), but this brand new production does manage to stir up some new human stories from onboard the ill-fated vessel.

    Unfortunately, it does this on a set that I found as uninspiring as the music. On a story we know this well, emotional investment is crucial and it is a huge disservice to an otherwise excellent musical that so little feeling comes across. This was, in no way, the fault of the excellent actors and musicians, but rather of the sound design which simply didn’t carry any real feeling forward. I first felt a stirring of emotion towards the end of Act 2, with the heart-breakingly touching song Still by the elderly Straus couple (performed wonderfully by Judith Street and Dudley Rogers) as the ship disappears beneath the waves.

    Other notable performances came from James Austen-Murray, Jonathan David Dudley, Philip Rham and Simon Green.

    The passengers are introduced during a lively number, according to their class, and the aspirations that the Titanic carried are conveyed incredibly well throughout, but never more so than during Lady’s Maid, midway through Act 1.

    Cressida Carre’s choreography is lively and inventive, and in keeping with the emotion that the music is intended to carry, as is excellent direction from Thom Southerland. Unfortunately, this is also let down by some aspets of the set design. I have a fairly vivid imagination, but transforming a black stage with a single white table, set in a distinctly average style, into a first class saloon was just too much for even my mind to manage.

    Despite these few failings, Titanic carries a particular magic through its inventive writing and original score. I particularly enjoy that the focus is on four separate couples – just the right amount of stories to get involved with on a production of this scale, and the interplay between the ship’s designer, owner and captain is excellent. It is very worth seeing and, if you can allow the design issues to float by, you will be fully immersed in a very enjoyable production with some truly excellent performances.

    TITANIC plays at the Southwark Playhouse until 31 August. Tickets are £22 from

     

    http://southwarkplayhouse.co.uk/the-large/titanic

  • THEATRE REVIEW | The Sound of Music: Regent’s Park Open Air Theatre

    ★★★★★ | The Sound of Music

    Singing nuns and handsome widowers? Lederhosen and dresses run up using a pair of old curtains? An innocent yet savvy governess saving the day against a Nazi threat? No wonder that The Sound of Music has always had a massive gay following.

    Whether you’re a diehard fan or (like me) have merely snoozed off in front of the film on a rainy Bank Holiday Monday; you’re sure to find something to love in this fresh and highly accomplished revival of a classic musical.

    The beautiful Regent’s park Open Air Theatre is a suitably outdoorsy setting for a sojourn into Austria, with its banks of Alpine flowers, a stream at the front of the stage, the backdrop of trees and the night sky. It’s not just the surroundings that dazzle and imbue atmosphere, as the cast bring a series of classic songs to life and manage to convey a storyline that keeps the audience rapt throughout and last night, ended with a thunderous standing ovation.

    The painfully handsome Michael Xavier is a dashing and alluring Captain von Trapp, equalled only by Charlotte Wakefield’s passionate performance as Maria, which oozes vitality. The songs may be over familiar but the gusto and skill of the large cast combined with witty choreography, makes them seem brand new and every bit as accomplished and exciting as when you first heard them.

    I’ve always been more Cruella DeVil than Maria von Trapp when it comes to schmaltz and singing children with rosy cheeks, but even my stony heart contracted just a tiny bit by the end of the show. I briefly considered joining a convent just so that I could learn to sing like that awe inspiring Mother Abbess but decided that black just isn’t my colour. I heartily recommend this wholesome but inspiring treat. You’ll be humming about lonely goatherds and raindrops on roses all the way home, whether you planned to or not.
    The Sound of Music runs until the 7th of September 2013

  • THEATRE REVIEW | Up4AMeet?

    Up4aMeet? – An Evening of Naked, Gay, Laugh-Out-Loud Comedy

    The Up4aMeet? Cast: Chris Wills, Penny Tasker, Lloyd Daniels, Nikki Grahame, Michael Blore & Benedict Garrett)

    It’s #NakedAugust month here at The Gay UK, so I decided to go along and see Up4aMeet? the hilarious naked gay play.

    Grant (played by the brilliant and sexy Chris Wills) finds it difficult to talk to gay men in reality. But on his favourite app ‘The Cock Shop’ he can be himself and even find out how many metres away his nearest gay man is. ‘The Cock Shop’ is described as a gay man’s sweet shop; with a few clicks a man can be delivered to your door.

    Carlos (played by the well-endowed Benedict Garrett) is Grant’s Spanish & naturist flatmate who also is a big fan of ‘The Cockshop.’ For Carlos life is all about the sex. Carlos has a strict aversion to clothes and stripped every time he walked onto the stage. He was practically naked throughout the entire show.

    Caroline (played by the fantastic Penny Tasker) is a broke Celebrity Agent who is Grant’s best friend and lives in the apartment downstairs. She represents a number of reality-TV celebrities including Stacey Granger (Big Brother’s Nikki Grahame) but is failing to find work for any of them.

    In the apartment next door is old queen Julian (played by the suitable Michael Blore). Julian is obsessed with Dame Shirley Bassey. His obsession extends to playing Gold Finger constantly, having a cardboard cut-out of her and a toilet seat that he’s made for her as a gift. Julian decides he’s getting a flatmate and ends up with Scott (X-Factor’s Lloyd Daniels).

    Up4aMeet? has nudity from the start with Grant being caught by Caroline taking a rude picture of himself for his ‘Cock Shop’ profile. Grant and Carlos accidentally switch phones and the hilarity begins. The characters attempt to deal with their own problems throughout the more than two hour show, amusing the audience along the way.

    The comedy that causes the audience’s incessant and side-splitting laughter is derived through gay stereotyping. Yet despite this stereotyping, the characters are believable and had a reasonable amount of depth – which is a tremendous credit to the writer.

    All of the characters are a bit zany including Carlos who had a bit of a dodgy accent at times. But he made fun of it himself and managed to get a few chuckles from the audience. Caroline had some great, sharp one-liners and is a constant source of entertainment throughout. One particularly funny scene of Caroline’s that springs to mind involves an eye patch and a glory-hole.

    Scott (Lloyd Daniels) was mostly eye candy and played a far too small role in the play. We don’t see Scott on stage until mid-way through and he barely has any dialogue. Scott (Lloyd Daniels) is the only male member of the cast who doesn’t get fully naked – sorry boys.
    The cast’s acting was splendid and they all made good eye contact with the audience – despite the difficult layout of the venue.

    The ending was dramatic, full of twists and turns with plenty of humour and a reminder that: you never really know whom you’re talking to online.

  • THEATRE REVIEW | WAG! The Musical, Charing Cross Theatre

    I have struggled over writing this review for a full week, primarily because I just couldn’t find the words to describe the excitement, hilarity and fabulousness that went into… oh, no, wait, that was another show. This was just awful.

    Awful.

    Anyone who knows me will know that I champion London theatre as much as possible. I think we are in really exciting times with new challenges and technology bringing a whole new mindset to the stage. However, WAG! is a blemish -a very, very dull blemish – on the London stage, and one I would be happy to see the back of.

    The plot revolves around two female shop assistants, each in an ill-advised relationship (one with a married man; the other with an abuser). All day, they serve the bevy of glamorous WAGs that come through the department store and dream of becoming one of them.

    THE POSITIVES (both of them): Katie Kerr as the fabulous Blow-Jo was a delight every moment she was on the stage. Out of the show’s characters, she was the only one I warmed to even slightly. Alyssa Kyria appeared as her regular character, Ariadne the Greek Wag, who is fairly well-known on the comedy / cabaret circuit. Kyria wrote her scenes herself, and they very much stood out from the tedium.

    Acting-wise, Tim Flavin played Mr Frank well. However, the character was a tired old cliché and not one I enjoyed watching. In fact, I enjoyed watching Lizzie Cundy more, mainly to see if I could spot her apparently-Botoxed face move. On the plus, she is at least the genuine article – a real-life WAG, and definitely looked the part.

    A succession of other, equally forgettable characters “graced” the stage. Another WAG, another bad actress, a camp designer, each as dreary as the last.

    I simply cannot spend another minute thinking about this complete travesty of a show, so I will leave you with the words of Andrzej Lukowski of Time Out, who says: “Wag! sort of blunders on in a dull, well-meaning muddle, two-and-a-half drab, weakly-sung, low-budget hours.”
    Well said, Andrzej. Well said.

    WAG! The Musical is listed at the Charing Cross Theatre until 24 August, although I can’t see it completing the full run. I heard on the grapevine they’re hoping to tour it in 2014 too. Tickets cost… oh, I don’t know. Save your time, money and sanity by not buying one.

  • THEATRE REVIEW | A Man Of No Importance

    Sedos is the City of London’s premier amateur company, and, to end their three week season at the Bridewell Theatre, they have ambitiously chosen to do the musical “A Man of No Importance”.

    Based on the 1994 film of the same name, with Albert Finney in the leading role, the musical has a book By Terrence McNally, music by Stephen Flaherty and lyrics by Lynn Ahrens, the same team responsible for the Tony Award winning “Ragtime”. McNally is of course a successful playwright himself, responsible for such successes as “Love! Valor! Compassion!”, “The Lisbon Traviata”, “Masterclass” and “Corpus Cristi”, and most, though not all, of his work is gay themed or of gay interest. “A Man of No Importance” is no exception, and centres on the character of Alfie Byrne, a softly gentle Irishman, passionate about the work of Oscar Wilde, who lives with his sister in 1964 Dublin. A closeted homosexual, harbouring a secret love for his colleague, Robbie, Alfie throws himself into staging an amateur production of Wilde’s “Salome” at the local church hall, but comes into conflict with the church leadership when they discover the nature of the play. During the course of the show, he struggles with his sexuality and with temptation, faces disapproval from those he considers his friends, and finally enjoys reconciliation, when they accept him for who he is. McNally’s script is, as you would expect, masterful.

    It is a tale with possibly a little too much Oirish charm and whimsy for my taste, but its very gentle lyricism does eventually draw you in. Not especially memorable musically, there is one stand out ballad, (Princess), beautifully sung in this production by Sarah Shepherd, who plays Adele, the new girl who is given the part of Salome. Another high point is the lovely, humorous, but gently moving song, The Cuddles Mary Gave, given a touching performance by Paul Francis as Baldy. However the show is very much an ensemble piece, and it seems invidious to single out single performances, when there really isn’t a weak link in the cast.

    Matt Gould’s direction was clear and efficient, though I thought the choreography of Sarah Evans a little confused, whilst acknowledging the difficulties inherent in moving a large number of people around in a small space. Musical director Inga Davis-Rutter skilfully managed her, presumably, paired down band of players. She also must have spent hours rehearsing the choral numbers, which were cleanly and brilliantly sung.

    All in all, however, the show stands or falls on the performance of the main character, the Man of No Importance, Alfie Byrne. It is not an easy part to play. Playing a quiet, unassuming character never is, and for the first half hour or so I did wonder if James Franey was overdoing the Irish whimsy. By the time he sang his big number,The Man in the Mirror, he was fully engaged in his role and we with him. This was opening night, and his performance can only get stronger as the week goes on.

    The Man of No Importance runs until the end of the week at the Bridewell Theatre just off Fleet Street and, though maybe not of the calibre of a professionally staged production in London’s West End, it is at least the next best thing. Congratulations to all involved.

  • BOOK REVIEW | Speed Demons by Gun Brooke

    Speed Demons by Gun Brooke is quite essentially a lesbian love story that was kindly sent to me by Publishers Group UK.

    Evie is a NASCAR Racing Driver that has had a crash and is planning a come back. Blythe is a Professional Photographer and was snapping the day of the crash. Blythe has heard about Evie’s comeback and wants to document her journey back to the racetrack in the form of a photography book.

    Blythe convinces Evie to agree to the photography book idea and a relationship starts to develop – far to quickly to be believable to the reader. Along with the waves of closeness between Evie & Blythe they both help one another to overcome the current challenges in their lives.

    For Evie the challenge is apparent: her recovery and return to the racetrack. In order for Evie to achieve her goal she must undertake her physical training and find a way of dealing with her post-traumatic stress disorder. Blythe’s challenge is to deal with her lost family connection and her feelings about it. Blythe feels that her family indirectly blame her for the attack on her brother many years ago.
    Evie & Blythe’s characters are well developed with good backstories. Brooke‘s use of character perspectives and of Evie & Blythe psychoanalysing one another makes the reader care about them.
    Brooke‘s description was sparse at times and the reader would have benefited from more detail. The are a few sex scenes; it was strange that Brooke used the word ‘sex’ to describe lady-parts in one part of the book and yet later on used the word ‘clit’ quite blatantly.

    The storyline was fair but somewhat predictable. Blythe’s family challenge felt like an after thought, being thrown in towards the end of the book. The ending felt rushed and not thought out. It had a few loose ends – such as Evie’s family approval and a resolution of Blythe’s family issues. The most unsatisfying part of the ending was Blythe’s seemingly sacrificing her life for Evie’s.

    Yet despite the criticisms it was a reasonable piece of lesbian literature. Speed Demons by Gun Brooke is available to buy on Amazon.

  • FILM REVIEW| I Want Your Love

    ★★★★ | I Want Your Love is collaborative film between gay porn studio NakedSword and independent filmmaker Travis Mathews.

    Jesse is an aspiring artist who feels creatively blocked because of the state his finances and his massive amount of debt. After spending the last decade in San Francisco, Jessie decides to move back home to his parents in Ohio, the Midwest to free himself of the financial pressure.

    I Want Your Love is the story of his last weekend in San Francisco with his friends, roommates and ex-lovers coming to his leaving party.

    Sex plays an important role in this film and there are uncensored sex scenes from the start. Sex is used to show character development, intimacy, move the storyline along and the development of friendships: those that start with clear defined boundaries but turn into something more – entering that grey area between friend and lover.

    Whatever type of man you’re into, you’ll find them in this film and I can guarantee that they’ll be in a graphic, all-exposed sex scene. Whether your taste be: bears, twinks, older, younger, white, black, Asian, muscly, ordinary or just an all-around lover of all.

    The film is extremely erotic and at times felt like watching a porn film. There’s even a threesome scene. The obligatory porn “I’m going to come!” scene followed by – well use your imagination, makes several appearances in this film. Arguably the storyline gets lost at times in the incredibly hot, but distracting sex.

    Jesse is completely likeable, relatable and discovers that he’s searching for his true self. Over the course of the weekend, he redefines what it means to him to be an artist, gay, and an adult. However, the ending was a bit of an anti-climax.

    It’s brilliantly directed and shot in a way that makes you feel like your sharing the characters most intimate moments. I Want Your Love is at times: funny, emotionally touching, romantic and sentimental as well as being abundantly horny throughout.

    There were slow scenes of sparse dialogue that were followed by peaks of rampant high-paced sex. There was an annoying character – one who really grated, but luckily he wasn’t in the film much.

    Mathews stated that he wanted to give an ‘honest and relevant’ representation of everyday gay life for men in San Francisco. I’m not from San Francisco so I can’t comment, but if that’s what it is really like – get me on a plane!

    I Want Your Love is the perfect film to watch with your partner or other very close friends – not only thoroughly entertaining, it will give you plenty of ideas in the bedroom department.

    I Want Your Love is available to pre-order/order on Amazon.

  • THEATRE REVIEW | Jack Steele & Family

    ★★★ | Jack Steele & Family

    A proud, Northern family man celebrates his 70th birthday surrounded by his family in the converted steel mill where he used to work, but as the night unfolds, so does the fabric of his family in this modern take on the kitchen sink dramas of the 1960’s.

    Jack Steele arrives at his old place of employment which evokes memories of friends, his pride and dedication in his work and his deceased wife. His son, Nick is a university lecturer who has a difficult and tempestuous relationship with his brother, Chris, a successful property developer who has left Sheffield and shows no affection for the city that made him. Nick is the straight-laced son who has always acted as the rock for the family, whereas Chris is more self-serving and much less reliable. The relationship between Nick and Chris is soured further by Nick’s wife, Louise, who made an irreversible decision when she was misdiagnosed with a terminal illness.

    The grandchildren also have problems and pressures of their own and the cracks in the family start to show as the evening unfolds and the prodigal son returns. Torn between the loyalty to his family members, trying to deny the fact that he favours one son over the other and struggling to find where he belongs both in his family and his community, Jack’s northern pride and confused emotions come to the surface in this bitter sweet story.

    The stage was beautifully constructed, with corrugated iron sheets and huge forged crane hooks hanging from the ceiling. The set, coupled with a very well lit stage, flooded with oranges and reds, provided an authentic and engaging atmosphere. The costumes were simple and functional and the static layout of the stage was suited to the production. The show was not technically dazzling, but it was never meant to be and the draw here is the drama unfolding on stage as opposed to it being a visual spectacle.

    Fine Time Fontaye turned in the best performance of the evening as the titular Jack Steele, showing an old man who becomes overwhelmed by his feelings, which overflow his stiff upper lip and Yorkshire dignity. Good support was provided by Robert Angell as Nick Steele, Susan Cookson as Louise Steele and Ian Reddington as Chris Steele. The remainder of the cast was made up of drama students from Sheffield Hallam University who deserve credit for their involvement. Some of them showed particular promise, especially Sam Parkinson, who looked very comfortable and natural on stage.

    This original play, which I was fortunate enough to see at its premiere, was enjoyable and the characters were not only well written, especially the male leads, but were easily recognisable from the viewer’s own family, friends and colleagues. The play was a joint venture between Sheffield Theatres and Sheffield Hallam University and was littered with local references and a story, which went to the heart of the city. That said, whilst some of the local references may be missed by those who are not familiar with the area, the story has enough universal themes to negate the need for an in-depth knowledge of the city.

    This was, in many ways, local theatre as it should be; namely written, produced and performed by talent from the city where the story is set and the show itself is performed in. But aside from the fact that, like Jack Steele, this reviewer has a deep-rooted love for his hometown, it is not just a show for Sheffield people.

    Jack Steele and Family is currently showing at The Crucible Theatre, Sheffield until the 20th July 2013.