THEGAYUK

Category: Review

  • DVD REVIEW | The Pass

    DVD REVIEW | The Pass

    ✭✭✭✭ | The Pass

    Two footballer players end up scoring with each other in Ben A. Williams feature film debut The Pass which is now out on DVD.

    The Pass take place in a ten-year time span which tracks the relationship between two Premiership football players. There’s always been some kind of chemistry and attraction between James (an electric and very good Russell Tovey) and Ade (Arinzé Kene – Hollyoaks – also very good). We meet both of them while they’re sharing a hotel room in 2006 in Bulgaria right before one of their first big matches. They’re both very young, and they’re also both very fit, masculine and extremely sexy, and they spend the first third of the movie in their tight white underwear. James and Ade are talking lads stuff, having a laugh about other players, and watching a video that was taken of another player having sex. The sex talk continues, and the banter goes something like ‘getting as hard as your sister sitting on my face.’ They’re playing around with each other; it’s hot, it’s erotic, it gets brutal and homophobic, plus, we find out later, it leads to more than just talk.

    The Pass takes us beyond the hotel room to tell us the story of the relationship between these two men, but especially about the relationship James has with himself. He’s all man, a star footballer, with all the trappings of stardom; money, women, celebrity, and eventually a wife with two kids. But he’s also battling with his sexuality, and even though he buys whatever, and whomever, he wants when he wants it, the thing he wants most is out of his reach. And when he’s questioned about his sexuality by a woman who has been paid to videotape having sex with him, he wants to go through with it, just to prove to the world (and obviously to himself) that he’s not gay. He’s a man who is not able to accept who he is and who he really wants to be with.

    The Pass is 88 minutes of purely charged up adrenaline. It’s a movie that’s full of dialogue, dialogue that goes from playful banter to sexually-charged hi-jinks, up to and including the final third scene of the movie, which involves a hotel bellboy that’s a bit over the top. But it’s not to take away from a movie that brings up a real issue – that there is not one out gay football player in the game now. Let’s hope this film opens up the dialogue that it’s fine for a player to come out of the closet. Originally produced for the Royal Court Theatre in 2014, The Pass makes an excellent transition to the big screen. Kene brings a real toughness kindled with a bit of softness to his role, but it’s Tovey who owns the movie. He’s never been better; his James is battling with his sexuality while at the same time trying to uphold his image. Tovey is electrifying and is at the top of his game (he will soon be seen at The National next month in the play Angels in America). This is one pass that you will want to catch.

    The Pass is available to stream and buy from Amazon and iTunes

  • THEATRE REVIEW | Gypsy Queen – National Tour

    THEATRE REVIEW | Gypsy Queen – National Tour

    ★★★| Gypsy Queen – National Tour

    In a story set in the testosterone-fuelled world of boxing, “Gorgeous” George O’Connell, a street brawler from the travelling community is approached to be coached professionally for the sport by a local gym owner. But George’s deepest secret cannot be contained when openly gay boxer Dane “The Pain” Sampson makes a move on him in the changing rooms. The two men fall in love as George tries to come to terms with his sexuality, but they face their biggest fight when George’s internalised homophobia rises to the fore and his actions lead to a tragedy that neither of them could ever have envisaged.

    Photo Credit – PR Supplied

    In 2015, boxer Tyson Fury caused controversy by stating in an interview that homosexuality was one of three components that would see “the devil come home”. The comments caused a media storm, a backlash against the boxer and demands for him to be removed from the BBC Sports Personality of the Year shortlist. This play by award-winning playwright Rob Wright throws, and squarely lands, a counter punch at those comments by not only telling the story of gay men in the middle of the ultra-masculine environment of the sport, but by also putting forward a gay central character whose background is not that dissimilar to the background of Fury himself.

    Using two actors to portray all of the characters in the story, the play has a script with charm, warmth and some genuinely funny moments, as the pair struggle with their relationships with their parents, their fledgeling relationship with each other and the pressures and prejudices of both their professional and personal communities. The set, comprising of a changing room bench, is repositioned to transport the scenes to the various locations, and the characters demarcations come from the use of simple costume changes and some nifty versatility from the two-hander cast.

    Rob Ward centrally plays Gorgeous George with a cocksure swagger and confidence; whereas Ryan Clayton balances this out with a measured performance as Dane, played with a sensitive vulnerability. But it is Clayton’s performance of Mrs O’Connell, the foul-mouthed but well-meaning matriarch of George’s family that turned out to be a scene stealer.

    Whilst the presentation and performance of the show could do with a little polishing, there is a lot to recommend it. With its 70 minute runtime, the play is well written, well-paced and laced with humour, allowing the central message to come through without ever sounding preachy. The uncertainty portrayed by George in coming out is something that many gay men will relate to, and the exploration of the underlying homoeroticism in such a masculine sport is a welcome and timely one.

    Gypsy Queen is a funny, poignant, thought-provoking and relevant piece of theatre and one which is well worth catching.

    The show contains full frontal nudity, scenes of a sexual nature and strong language. Gypsy Queen is currently on national tour and details can be found at http://www.gypsyqueentour.com/ . The show was reviewed at Doncaster CAST Theatre, who has The Faaaabulous Ceri Dupree Show coming soon. Visit https://castindoncaster.com/ for details.

    Photo Credit – PR supplied

     

  • CAR REVIEW | Vauxhall Cascada

    Vauxhall Cascada… Tonight we can be Glorious

    It’s been a long time coming. Not since the Mk2 Astra GTE of 1986 have I really paid any attention to Vauxhall. I liked the Astra GTE so much that I even drew a picture of one, sent it to Scalextrix and asked them if they would consider putting it in their next lineup. I got a letter and special badge for my efforts.

    Since then, many Vauxhalls have come and gone so it was about time I reacquainted myself with the Griffin and what better than to try the Cascada. You may be wondering what the hell this is? If truth be told so was I when l saw it in the catalogue. It’s a convertible Astra J series. What that means is underneath it is the last generation of Astra but seriously don’t let that put you off. It’s actually quite good and I’ll tell you why.

    I was given the 2 litre 170ps diesel Elite model. For a diesel, it is remarkable for being rattle free. In fact, it made no noise at all which might account for me stalling it on too many occasions to count. Hood up or down, I would say it was as quiet as a Mercedes. I can’t. I tested a Mercedes GLE recently and the Cascada is quieter. Vauxhall has thrown everything they can making the Cascada feel better than it actually is in refinement. Even riding on massive 20-inch rims has done nothing to harm the refinement of the car. It’s quite remarkable.

    Going back to the engine, it is a pleasurable unit to pilot around. According to the spec sheet, it really is the only engine option to go for. The 1.6-litre petrol engines will only better it in top speed and 0-60. That said a 0-60 time of 9.6 seconds isn’t exactly bad. It’s no sports car so these figures are quite on par with the sector.

    It is only when you realise that behind all the glitz, shine, open air motoring and 20-inch rims that this isn’t a sports car you appreciate it even more. It’s a serious cruiser. I only had it for a weekend so on a calm night in March I tootled along some nice roads near me and headed to the coast.

    Through the countryside with the roof down, Sara Cox on the radio, I noticed that the long legs of the gearbox and the reliable torque of the engine made it either essential to change gears or leave it in 4th and enjoy the power surges when needed. Refinement again was very evident here.

    The handling of the Cascada was also better than I thought it would be. Roof down it showed no body flex in fast cornering as is quite acceptable in a car with no roof. Strangely on first acquaintance, it felt like there was more flex with the roof up than down. It covered ground quicker than you’d think.

    I can’t say there were no problems. There were, but these were more annoyances to me. First up was the parking sensors. I’ve never come across a car so paranoid about parking. I was all of 70 cm away from the car in front that the siren alarmed. And it kept alarming. Even when stopped and the handbrake on it still alarmed. Get out, come back and no sooner was the ignition switched on that the alarm about the car in front was screaming. It is utter nonsense for a system to be this hyperactive. Thankfully there is a switch to shut the thing up. Alas, EVERY TIME you step back into the car, the system becomes operable again.

    It’s these private settings as I call them, that annoy me. If I set a system to not alarm I expect it to not alarm until I order it too. This was also evident for the auto lights that tended to be on all the time and the Eco stop-start system.

    What I did like was the roof’s operation. Let’s face it, you buy a soft-top for the open air experience. It was amazingly quick to erect, and could be done so at up to 30mph. You can also do it from the key remote. Step out of the house, lock the door and all while you activate the hoods disappearance. It was cool. In fact, the Cascada got the thumbs up from the yoof of the street. I was even complimented by a teenager and it does attract a lot of attention.

    I don’t mean this in a detrimental way but what makes the Cascada acceptable is that despite its million dollar looks, it’s a Vauxhall. It’s cheap enough not to attract the wrong attention so you can park it up with the roof down. It’s an affordable luxury.

    Roof down and even without the wind deflector it is quite draft free and this remains so up to high speeds. It is strangely a little too noisy for my liking with the roof up.

    The Cascada did have a magic trick up its sleeve. Roofs take up a lot of room. The boots are often useless or no more than a letter box. Push up the box in the boot and it reveals a big boot that also stretches into the cabin with the folding rear seat. It makes it quite a useable car.

    Now here is my real problem with the car. It’s the name. It might mean waterfall in Spanish but it is also the name of the 2013 Eurovision German entrant. Nothing wrong with that. Her song was “Glorious” however, the name of the car isn’t. If I had one, I and I have to say l would, I’d just have to remove the badge from the rear and replace it with Astra.

    Love

    Refined

    Design

    Price

    Loathe

    Paranoid parking sensors

    The name

    Noise with roof up

    The Lowdown

    Car – Vauxhall Cascada Elite 2.0 170ps Blueinjection

    Price – £32,810 (as tested)

    MPG – 57.6mpg (combined)

    Power – 0-62mph – 9.6 seconds

    Top Speed – 135 mph

    Co2 – 129 (g/km)

  • REVIEW: Audra McDonald at the Leicester Square Theatre

    ★★★★★ | Audra McDonald

    Megastar of Broadway, film and television Audra McDonald can barely pop out for a carton of milk in New York without winning another Tony Award. It’s not hard to see why she’s a record breaking award winner and it’s a privilege to see and hear her up close in the Leicester Square Theatre.

    Due to break her West End virginity in June with her acclaimed performance as Billie Holiday with ‘Lady Day at Emerson’s Bar and Grill’, Audra’s in town for a flying visit with her husband and kids and decided to pop into the theatre, have a chat and sing a few songs. On one level it feels like just that, a lovely friend has popped in for coffee and a gossip but on the other it’s slick and showy, crank the drama up to maximum and let the hairs on the back of the neck rise.

    Audra is interviewed and accompanied on the piano by the hilarious and camp musical theatre legend Seth Rudetsky as well as being joined by her Broadway hunk husband Will Swenson. There’s a genuine warmth between Audra and Seth as they chat on the sofa about the kind of diverse subjects we all gossip about such as childrearing, travel and working with P-Diddy.

    Oh, she’s met a few legends too and gives good Barbra and Liza anecdotes. She seems to be that rare entity: genuinely nice but interesting with it. In between chats she sings. Boy does she sing. Last night she ran through Sondheim, Lerner and Loewe and Gershwin, amongst others but who knows what you’ll get if you’re lucky enough to get a seat.

    She really does have a beautiful voice and it’s not hard to see what all the fuss is about. If you love musical theatre then this is an absolute must. Even if you don’t love musical theatre then go. If this doesn’t convert you then nothing will.

    Audra McDonald plays at The Leicester Square Theatre until 15th April 2017

  • THEATRE REVIEW | 46 Beacon, Trafalgar Studios, London

    ★★★★ | 46 Beacon

    It’s 1970 and for Robert, the air is heavy with the promise of straight, gay and even group sex as the hedonistic sixties leave behind a legacy of enhanced freedom for gay men.

    A suave and handsome British actor, Robert, has invited gauche teenage virgin, Alan, to his Boston hotel room for a drink and a chat (and hopefully an easy no-strings shag without his ‘room mate’ back in London finding out). The gin flows and it’s not just flesh that’s bared as they probe each other in more ways than one. Alan is overwhelmed, unsure of himself and his sexuality. Appearances are deceptive, though and Robert isn’t quite the carefree shagger he initially appears to be.

    This is a charming play that’s both warm and witty with plenty of wry humour and a touching message. The pace flags occasionally but picks up again. Overall it’s a resonant play touching on themes of alienation and feeling lost within the life you’ve made that I’m sure will be familiar to lots of us.

    The setting might be 47 years ago but as the saying goes: the more things change the more they stay the same. This is an incisive and fascinating glimpse of gay life that whilst humorous, I’m sure will make you wince at times as you recall your own past. Well worth 83 minutes of your time.

    46 Beacon plays at Trafalgar Studios until 29th April 2017

  • THEATRE REVIEW | Miss Nightingale, The Vaults, London

    ★★★★ | Miss Nightingale, The Vaults, London

    Miss Nightingale review
    CREDIT: Robert Workman

    The story of a chanteuse called Miss Nightingale who is caught between three men in 1940’s London during WW2 is now playing at The Vaults under Waterloo Station.

    Leaving war-ravaged Berlin behind, Maggie Brown (a very talented Tamar Broadbent) and Polish George Nowodny (an excellent Conor O’Kane) arrive in The Big Smoke with Brown’s musical talent. Almost immediately, Brown is spotted by producer Sir Frank Worthington-Blythe (Nicholas Coutu-Langmead) and is urged to start singing for her supper. She’s a hit and starts dating Tom the drummer (Niall Kerrigan). But when their relationship goes down the drain (a bit unexpectedly), Brown, now known by her stage name of Miss Nightingale, falls into the arms of Frank. But Frank and the seductive George have struck up a relationship, all of this amidst the constant threat of blackouts, bombs and The Blitz – life in London during World War II was a treacherous and at times tortuous place.

    Miss Nightingale is similar to the storyline in Cabaret where the songs are catchy and campy, however, there is the fear of the unknown, and it’s set amidst the drama and terror that is happening in the outside world. Broadbent is absolutely wonderful as the star of the show, petite yet singing with a big voice and big personality – she commands the stage. Coutu-Langdmead is just as good in his meaty role as Brown’s best confidante and Frank’s lover – though he’s got lots of emotional scars from his past that he can’t soon forget. But the actors in this show not only act, they also play the instruments! O’Kane is especially adept when he’s playing several instruments during one of Broadbent’s songs – is there nothing this man can’t do? The action (and drama) takes place in the small stage space that is The Vaults, not much space to move around but the actors do it, and class it up with their excellent performances and singing.

    I can’t recommend this show enough – it’s got everything going for it – and there’s a cosy bar for those all important pre-show and interval drinks!

    Miss Nightingale is playing at The Vaults until May 20th.

     

  • THEATRE REVIEW | 42nd Street, London

    ★★★★★ | 42nd Street, Theatre Royal Drury Lane, London

    It’s got Razzle. It’s got dazzle. It’s the tapiest and most glittering show in town. It’s 42nd Street!

    42nd Street is back in London and it played to a star-studded crowd on opening night (even the Duchess of Cambridge was there!). There were more stars in the room than in the skies, and there were more sparkles on stage than on Guy Fawkes night! 42nd Street is one of the most well-known and loved musicals of all time. Originally a 1933 film and based on a novel by Bradford Ropes, 42nd Street made it to broadway as a musical 47 years later (what took it so long?). It found it’s way to our shores in 1984, playing at the Theatre Royal Drury Lane (where it’s playing now!) and launched the career of Catherine Zeta-Jones, who was a chorus member fortunate enough to be bounced to the lead role one night when the main star and the understudy were both sick. The lead role, of wanna be musical star Peggy Sawyer, will definitely make Clare Halse, who is in this new production, a star.

    Mark Bramble, who originally wrote the book (along with Michael Stewart) directs this new production, and it’s a non-stop bacchanalia of fun! And with an amazing and flawless cast of over 50, 42nd Street has gotten better with time, even though it tells the same old time-trodden story of a young girl from a small town – Peggy Sawyer – who goes to the big city and dreams of making it big. She gets a job as a backup dancer in a new show called Pretty Lady, and the Pretty Lady in the title is Dorothy Brock (fabulously played by singer Sheena Easton). Brock is in love with Pat (Norman Bowman), who disappears off to Philadelphia. So Brock wants to follow him there, forcing the show to move to there. But Brock breaks her ankle, so after getting fired for causing Brock to break her leg, Sawyer is roped back into the show, this time as it’s lead, and she’s only got 48 hours to learn the part, to learn the dance moves, and is wooed and coddled by director Julian Marsh (Tom Lister). But it’s Billy (Stuart Neal) who really takes a liking to her. Will she be ready and rehearsed in time to open the show? Will the nerves get the best of her? I’m sure we can all figure out how it plays out – and plays out it does, much to our delight!

    But the story line pretty much takes a back seat to the musical numbers. Songs such as ‘I Only Have Eyes for you’ – beautifully sung by Easton, and ‘Lullaby of Broadway’ and ‘We’re in the Money – sung by the entire cast, are just as memorable now as when they were originally written. Act 1 moves us from the stage of the 42nd Street theatre to The Gypsy Tea Kettle Restaurant and then on to Philadelphia, while Act 2 takes us from the dressing rooms to Philadelphia train station – all realistically cleverly designed. And those dance numbers – wow! There is one amazing scene where a dozen or so female dancers are on the floor while a mirror hovers above them for the audience to see – it’s breathtaking! This cast is definitely the hardest working cast in town – from the opening number where they tap themselves to death to the finale where they all come down the amazing light-up stairs – it’s one singing sensation after another. Halse is superb (with an excellent voice) as the lead, Easton is delicious as Brock – who would’ve guessed Easton had so much acting talent, and it’s her acting stage debut! And Maggie Jones and Christopher Howell excel in their supporting roles. With excellent choreography by Randy Skinner, 42nd Street is simply a must show to see.

    42nd Street is playing at DTheatre Royal Drury Lane, London until October 14, 2017. 

     

  • THEATRE REVIEW | This Joint Is Jumpin’

    THEATRE REVIEW | This Joint Is Jumpin’

    ★★★★  | This Joint Is Jumpin’

    This Joint Is Jumping' review
    CREDIT: Darren Bell

    London seems to have gone a bit tap dancing mad. What with “42nd Street” and “An American in Paris’ it seems that you can barely enter a theatre before someone starts toe tapping. That’s no bad thing either.

    The studio theatre at The Other Palace at Victoria (The St James’ Theatre with an oddly chosen new name) is a perfect cabaret venue. It’s intimate, stylish and only lacks an evocative haze of cigarette smoke to make it feel sufficiently retro. This lively show is a tribute to Fats Waller and the joint definitely jumped more than a little with glasses and bottles rattling on the tables and feet spontaneously tapping in the audience. Tap dancing, a live band and lively banter make this a full on joyous show to see.

    It’s not so much a musical but more a jazz and tap dancing gig. There are thin links that are entertaining, funny and occasionally moving but there’s no discernible plot to link it. As well as a tribute to Waller there’s a nod to black history which adds emotional wallop. The main draw here though is the performers. Broadway star Lilias White is a mesmerising powerhouse of a pocket rocket, belting out tunes with panache and making the hairs rise on whichever part you have that rise. The tap is frenetic and loud, the songs are raucous/melodic/blasting and the men are a sight to behold. Joseph Wiggan is notable as a tap supremo with jaw dropping moves and singers Michael Mwenso and Vuyo Sotashe rock the roof off. There’s a cheeky pianist, an MC with attitude and a great backing band. It’s a tiny stage but somehow they managed to fit 11 performers on there.

    Pour yourself a gin, sit back and let the music take you over. This might be retro jazz but there’s nothing dated or tired about this show.

     

    This Joint Is Jumpin’ is playing at The Other Palace, until 15th April

  • RESTAURANT REVIEW | Smith & Wollensky, London

    RESTAURANT REVIEW | Smith & Wollensky, London

    ★★★★ | Smith & Wollensky, London

    Smith & Wollensky is a New York institution and has found it’s way to London, and it’s thriving. It offers all sorts of steaks, and it comes with a price. Expect to pay no less than at least £75 per person – this is a place where definitely how the other half lives. Their steaks are perhaps the finest in the UK, in a restaurant that’s elegant and that defines the word fine dining. The minute you walk into the restaurant, which is just a few minutes walk from Charing Cross Station and right off the Strand, you will encounter a lovely classy restaurant with incredible art deco decor – it’s got a New York feel, with white tablecloths, very classy pictures, and spotless throughout, with a bar that’s very inviting. It’s a place to definitely impress, either your boss, your girlfriend, or perhaps your mom.

    Smith & Wollensky may be a once in a lifetime dining experience for some (or most) but it’s perfect for businessmen (company credit card) and those wishing to splurge on a nice meal. The cheapest steak on the menu is an affordable £39 (the Premium Irish Fillet Mignon) – but it’s a tiny 225g. The 400g Rib-Eye steak is a better option at only £42, but the better selections are, of course, the priciest. Another Premium choice – the Tomahawk (1kg and perfect to share) is £78, while the USDA Prime Day-Aged Steaks – and other selections – start low (Sirloin 395g) at £49 and go up to the 700g T-Bone at £78. On the night we went to the restaurant, it was a Monday night, and it was obviously a slow evening as there were only a handful of customers in a place that seats 340 people in both it’s upstairs and the cavernous space downstairs. Lucky for me they had my favorite steak – the chateaubriand, and it was cooked to perfection. It was recommended by the very friendly and very knowledgeable Sabina who said it was big enough for two, but I ate the whole thing, with the excellent Béarnaise sauce giving it a nice flavor. My dining companion had the Kansas City Cut Bone-In Sirloin (595g at £64) and it was delectable, delicious and extremely tasty, and again cooked to perfection. Both of us had never actually tried this type of meat before – now we are both huge huge fans. Smith & Wollensky steaks are charbroiled in one of their four grills, and they employ a full-time butcher where most of it goes through a careful dry ageing process for 28 days to ensure you get the tastiest, freshest meat in town.

    Smith & Wollensky offers up a handful of starters, but knowing that we were going to have a meat feast, we went for salads. I had the wonderful Iceberg Wedge, which is exactly what it says on the tin, and it was draped with lovely blue cheese dressing, tomatoes, and extremely delectable bacon lardons (strips). At only £12, it was worth every bite. My dining companion had the Wollensky Salad (£10). It came with romaine lettuce, tomatoes, potato croutons, bacon lardons (yummy again) mushrooms and topped with delicious dijon Vinaigrette. The salad was not sexy, but it was functional.

    The main courses don’t come with sides, so of course you would definitely want to order starch and vegetables to accompany your meat dish. You’ve got your choice of French or Cajun Fries or Whipped Potatoes. I had the Baked Potato – perfectly cooked, with butter, bacon bits, cheese, and sour cream, all on a bridge dish! But I would highly recommend the Hashed Brown Potatoes. If you’ve ever been to America you know that the hash browns there are shredded potato cooked on the grill, and the portion at Smith & Wollensky was gynormous and excellent. A must! Also on offer is Truffled Mac ’n’ Cheese and Onion Rings. In the vegetable department, order the Mixed `Vegetables – you name the vegetable – it’s in this dish. All the sides are smartly priced between £5 – £10 pounds each.

    Smith & Wollensky has a too big to mention wine list, but the waiters will recommend the best type of wine to accompany your meal. They also have an excellent drinks and cocktail menu. We had the Old Cuban (Havana Club 3, Lime Juice, Mint Leaves, Perrier-Jouët Grand Brut NV Champagne, Sugar Syrup) and the Stage Three Dacquiri (Havana Club 7, Koko Kanu, Lime Juice, Nutmeg & Vanilla Syrup, Chocolate Bitters). They were both very good but it was the Old Cuban that was more refreshing, lighter, and a bit more flavorable.

    The dessert menu really has to be mentioned. There is what they call the ‘Gigantic Chocolate Cake’ – and it is gigantic. It’s actually enough for four people. Moist chocolate layer cake brushed with Baileys Irish Cream, chocolate mousse and covered with dark chocolate ganache at only £18 – it’s practically the best deal on the menu and it’s the richest, guiltiest and best pleasure in town!

    There’s really a whole lot to mention about Smith & Wollensky besides the food. As mentioned, the decor is abasolutely divine, the downstairs area has the feel of being in another country (Paris, or perhaps the dining room of the Titanic), and there are three private dining areas for group or company bookings. Smith & Wollensky sits in the Adelphi building on the very quiet street that is John Adams Street, so there are no loud trucks, or lost tourists or selfie takers walking by. It’s secluded enough to be out of earshot of loud traffic, yet it’s just one minute away from major transportation – ideally centrally located. Adelphi translates to brother in Greek, and it was three Adams brothers (John, Robert, James and William) who orignally built the surrounding area in 1768. And close to 250 years, it’s still an elegant area where Smith & Wollensky comfortably resides.

    Smith & Wollensky is also running a promotion on their Tomahawk steak. Guests can tuck into the monstrous Tomahawk Steak – a juicy challenge for even the most committed of carnivores – served with French fries, creamed spinach, mushrooms and a bottle of Viñas del Vero, Cabernet/Merlot – perfect for two to share – at just £95! Also, keep your eye on Travelzoo and Living Social as Smith & Wollensky does put on offers that are excellent deals. A recent one included the Chateaubriand with cocktails each for two with four sides at a very cheap price of £45. But don’t let the high prices put you off – Smith & Wollensky can be an affordable place to eat, whether for dinner, lunch or even weekend brunch (which includes not just steaks but also french toast, pancakes, eggs and waffles). And Smith & Wollensky will also be serving an amazing three course Easter Sunday Menu for only £59.00 per person. Elegant food at elegant prices – well worth every penny!

    Tel: 020 7321 6007

    Home

    Email: enquiries@smithandwollensky.co.uk
    Twitter: @SandWollenskyUK
    Address:
    The Adelphi Building
    Covent Garden Riverside
    1-11 John Adam St
    London
    WC2N 6HT

    Opening hours:
    Monday-Thursday: 12pm – 10.30pm (last orders)
    Friday: 12pm-11pm (last orders)
    Saturday: Brunch: 11am-3.30pm (last orders); Dinner 5pm-11pm (last orders)
    Sunday: 12pm-4:30pm (last orders)

  • REVIEW | The Luggage Room at the Grosvenor Square Hotel

    Pre-WW2 Grosvenor Square (GS) was considered one of the four most uber-cool hangouts in the Old Smoke – receiving its name from the reigning Duke of Westminster (1700-32) Sir Richard Grosvenor, who kicked off the square’s construction around 1721.

    Hero Image cropped

    In the 1920s GS was a playground for the ‘Bentley Massive’: Tim Birkin, Bernard Rubin, Woolf Barnato and Glen Kidston. The quartet hogged the south-eastern corner of said square, neighbouring each other in separate gaffs. Bon viveuring was high on the sports-car-lovers agenda – the Bentley boyz all-day soirees and shindigs became renowned – booze was guzzled like that of Mercer Series 5 Raceabout’s engine, with no finishing line in sight.

    We owe thanks to The Duchess of Bedford’s hearty appetite for the Low Tea Movement – tucking into a biscuit or two, served on a low table, to keep her ‘strength up’ before supper soon caught on.

    The Grosvenor Square Hotel, GS, is home to the decedent Luggage Room, a speakeasy-esque bar that feels like you’re imbibing aboard the Titanic but with the same interior and tailoring as the exterior of a Louis Vuitton trunk. We were very much at home.

    It was a roaring welcome to the roaring 20s style establishment – as soon as we parked our derrières we were offered: Punch a la Romaine: Champagne and Romaine sorbet, plantation 5yr fresh ginger extract. Fresh lemon juice, House made lemon sherbet, egg white built and served up, at £14. The zing and zest from the sherbet and lemon juice hits you first, beautifully softened by the egg white and champagne, all merged with a ginger undertone. An acceleration to fifth gear – scrumptious.

    Low Tea, means tea – so tea, is what we had. We shared a Lapsang Souchong: think log-fires, grandad’s pipe and that time you snogged a cigar smoker. A bit like ferret legging, not for everyone, but for those that do – a huge amount of pleasure. Now stocked in our office. As well as: China White Monkey: a light and delicate bouquet of freshly cut lemongrass infused with dainty floral flavours – pleasant.

    The alluring array of savoury and sweet delicacies was served in a prohibition era, American medical box – all adding to the 20s eroticism.

    Ours for the taking: Pickled New Forrest Mushrooms, Thyme, Crème Fraiche Tarts – a decent crunch to buttery pastry, the herb, creme and shrooms worked. H Foreman & Sons Smoked Eel, Horseradish, Crème Fraiche Vol Au Vent – as eels go, this slippery sucker had it goin’ on – lacking that metallic taste (that’s a good thing) the fishy flavour is complemented with a gentle punch from the horseradish – all fused by the crème.

    Devonshire Wild Boar Sausage Roll, Tiptree Grain Mustard – we have a #winner (emoji: smiley-face wavy-hands). Hummmm – yum scrum. Beats those of Maltby St Market. Quality sausage – who doesn’t like one of those? Lyburn Smoked Cheddar & Sage Scone, Spiced Pear Chutney. The cheese notes pulled through but a tad dry – the mild, but bursting with pear-power, chutney made up for it.

    Devilled Balmoral Venison, Free range Clarence Court Scotch Egg. On par with Mac & Wild’s – if you haven’t tried Mac & Wild’s wares yet; stop reading this and immediately book a table – you neanderthal. My deers, egg-cellent. “Luggage Room Signature” Tea-Cured Salmon by H Foreman & Sons, Caviar. Pure class on a white ceramic spoon – the fish eggs popped salty gorgeousness seconds after touching the tongue, lifting the salmon to another seafood taste level.

    To wash down the mini puds we were steered in the direction of Jack Rose (“You jump, I jump remember?”): Laid’s Applejack, House-made Grenadine, fresh lime juice, nutmeg shaken and served at £14. Cranberry in colour with ripe apple aromas – not even an iceberg could sink this beverage – an undercurrent of spice and hints of citrus kept all afloat.

    Next up: Luggage Room Limited Edition Plantation Rum Syllabub – neither a mousse, crème or parfait – room temperature, creamy and airy with a strong orange current, quite unique – superb. Tiptree Tawny Marmalade infused Carrot Cake – steam pudding moist but without the residue – laced with sweet-carroty-goodness – (emoji: thumbs up). Classic Victoria Sponge – the late Queen would’ve been chuffed: sponge, jam and cream – nothing went wrong. Neat.

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    As well as Tiptree Jarred Scone Trifle. This deconstruction malarkey – in France you can now buy steak tartare in a can, from a vending machine! Anyways, this spoon full of – a lot of sugar – did not help the medicine go down. Too sweet – not toot sweets, different film – an overload of sickly cream. And to finish us off: Salted Caramel Meringue. Think French macaroons – crisp, honeyed and sugary with a smidge of seasoning – oui oui oui.

    Bentleys, Vuitton cases and buoys are not required – you won’t wanna jump overboard. Appetites – not dissimilar to that of The Duchess of Bedford’s, a good palate and your manners (the service is exceptional), are.

    Low Tea £48

    The Luggage Room
    Grosvenor Square
    London
    W1K 6JP
    Book: http://luggageroom.co.uk/bookings/
    T: 0207 493 1232 E: info@luggageroom.co.uk

    Opening times: Low Tea. Wednesday – Saturday from 12.00, last sitting 15.00 – Low Tea. Sunday 12:00 – 17:00. The Bar. 17.00 till late

  • Film REVIEW | I Am Michael

    ✭✭✭✭ | I Am Michael

    I Am Michael Review
    CREDIT:

    James Franco is very convincing as a man who renounces his homosexuality to lead a religious straight life in the film I Am Michael.

    Franco is one of Hollywood’s busiest actors. One look at his IMDB page shows an incredible 21 upcoming projects with a mix of indie and blockbuster films. He also likes to mix up his repertoire (and keep his fans guessing) by playing gay characters. He was a gay porn producer in King Cobra, and he directed and produced the 2013 controversial film Interior. Leather Bar. And now in I Am Michael, Franco has his gayest role yet.

    It’s based on the true story of Michael Glatze, who claimed he was no longer gay and became a straight pastor. But in 1999, Michael was in a gay relationship with boyfriend Bennett (Zachary Quinto) and was the editor of the successful real-life XY Magazine, while at the same time living in San Francisco – it was the ultimate gay life and gay lifestyle. But Bennett’s father has a job for him in Halifax, Canada, so they relocate there – it’s a city with not much to do, but they end up hooking up with the young good looking Tyler (Charlie Carver). But after a few panic attacks, and memories of his late father and mother, Michael starts to question his homosexuality – he starts to re-evaluate his life, loves, and takes up to reading the bible for answers, until one day he leaves it all behind for a new life.

    Shot in just 20 days in New York, on a budget of $2.5 million, I Am Michael didn’t get the proper cinema release that it deserved. It’s done the film festival circuit and it’s only now being released, on video on demand. Writer and Director Justin Kelly keeps the movie flowing, and it never once loses the faith of its subject matter. Franco superbly carries this film (though his hairstyle seems to change in every scene) and the rest of the cast excellently support him. It’s a highly recommended watch not just for it being a gay film – it’s Franco’s performance that is more than worth the watch.

    I Am Michael is out now.