Category: Review

  • THEATRE REVIEW | The Full Monty – National Tour

    ★★★ | The Full Monty – National Tour

    In this tale set in Sheffield, a group of ex-steelworkers with seemingly very little in common, other than their unemployment, band together in a get rich quick scheme, whereby they plan to rival The Chippendales by becoming strippers and giving the audience a little something extra – by going all the way. Gary, needs money as he is on the cusp of losing contact with his son, overweight Dave has a big body image problem, Horse has a rather (ahem) “small” problem and Lomper has his own secret hidden in his closet. But despite their unlikely sex symbol status, the whole community waits to see whether they really will go ahead with their scheme and whether they will go “the full monty”.

    Not to be confused with the musical version of The Full Monty, which was produced in 2000, this version is a relatively straight play, which does away with thin plot and thinner characterisations to simply link musical numbers; and instead provides a play with heart, rounded characters, a genuinely funny script and, of course, the ending that the audience were waiting for.

    Even overlooking the rather dubious Sheffield accents (you can’t fool the home crowd, you know), the production felt a little shouty at times; and the cast were broadly functional as an ensemble but never really excelled. That said, what Gary Lucy (“Eastenders”) lacked in performance, he made up for in the eye candy stakes; and Anthony Lewis gave a suitably downbeat performance as the depressed Lomper, especially during his coming out scene. But standing out from the crowd was Chris Fountain (“Hollyoaks”, “Dancing on Ice”) who really lit up the stage and outshone the rest of the cast, with a performance bursting with enthusiasm, confidence and a level of sexiness which was hotter than a steelworks smelting pot.

    The show is written by Simon Beaufoy, who wrote the original story and received an Oscar nomination for his screenplay for the film. The story of the play very closely mirrors that of the film itself, with all of the key plot points, pivotal scenes and music being extrapolated, and despite the running time of the play being approximately 40 minutes longer than the film; it generally doesn’t feel too padded out. What does come across much more in this production is the political and social commentary hidden beneath the comedy and narrative; and there is a real balance between the humour, sadness and optimism portrayed. Despite the characters initial differences, there is a genuine feeling of friendship which permeates the play, accompanied by a strong sense of family, loyalty and acceptance.

    Overall, the show remains a feel good, funny and enjoyable show, and the whoops of delight by the time the curtain (and the undergarments) fell proved it was a real crowd pleaser.

    The Full Monty is rounding off its current tour in the theatre where it had its world premiere, so don’t miss your last chance to catch up with the boys for a while. The Full Monty is playing at Sheffield Theatres until the 15th April 2017. For information and to purchase tickets visit www.sheffieldtheatres.co.uk .

     

  • FILM REVIEW | My Straight Son

    ★★★★ | My Straight Son

    Diego a successful fashion photographer in Caracas has commitment phobia but the very night he is about to tell Fabrizio his Doctor boyfriend that he will move in with him after all, is the same night that Fabrizio is the victim of a vicious fatal gay bashing. It is also the same night that Armando, his estranged teenage son, turns up from Spain to stay with him for a few months whilst his mother goes to London to study for a Masters degree.

    This very melodramatic first 24 hours sets the tone for a hectic story packed full of characters that deliberately sets out to tug at your heartstrings for the next two hours. Father and son are like strangers and must learn how to adapt to each other. Armando to the unknown homosexual world of a father grieving for his partner that he had never met, and Diego to the closed attitude of his adolescent son.

    Added to the mix are both Diego’s own parents and Fabrizio’s too who are completely homophobic and are obsessed with watching Venezuela’s most popular TV Chat Show with its buxom bigoted host who loves to stir up fear of the unknown with her inflammatory remarks. Plus Diego’s female assistant/friend that keeps going back to her abusive boyfriend who beats her up most days, and the penniless transsexual choreographer who has to subsidise her modern dance troupe by still doing her lip-syncing drag act at a gay club at night to pay the rent. Between them all director/writer Miguel Ferrari insures that he covers the whole gamut of social issues from gay parenting and partners rights to gender identity.

    Despite its (too) many layers and all its plot complications there is something very compelling about the unraveling of the relationship between the father and son that ensures our investment in watching to the end to see how its all going to turn out. Maybe it’s the sonorous tones of the orchestra’s lush string section that pervades the dramatic soundtrack, or just seeing a cute nervous Armando mastering the art of the Tango so that he can win the heart of his new Internet girlfriend?

    It’s sweet and funny and immensely moving with some very fine performances from this handsome and talented cast, plus there is more than a hint of Almodovar about the whole thing. The movie has been wowing audiences already and in Spain it won the Best Foreign Picture Goya (their Oscars) when it still had the original and much better title of ‘Azul y No Tan Rosa’ which literally translates into ‘Blue, and Not So Pink’, and it should do just as well as here even with its newer clumsier title.

    Highly recommended.

  • FILM REVIEW | The Internet’s Own Boy: The Story Of Aaron Swartz

    ★★★★★ | The Internet’s Own Boy: The Story Of Aaron Swartz

    This is the story of a charming and selfless information prodigy that strived to use his talent to make this a freer and better world for which he ended up paying for with his life.

    Aaron Swartz was born in Chicago, the middle son, of successful middle-class Jewish parents. Inquisitive from birth, he taught himself to read by the age of three and by the time he reached High School he despaired of his teachers who he complained taught him less than he could read up in an hour. At 13 he won a competition for young people who created non-commercial websites for which the prize included a trip to M.I.T. From then on, there was no looking back for him.

    From there the young genius played a major part in the development of the basic Internet protocol RSS and also co-founded Reddit which became the most popular social news website in the world. His work brought fame in the online communities and also wealth (when Reddit was sold) but this affable young man couldn’t have been less interested in either. What did excite him was social justice and political organising that focused on working to free up inaccessible information online that he believed belonged in the public domain and should be available to all without charge. It was what would prove to be his undoing in time.

    Without Swartz’s involvement it is most unlikely that the Stop Online Piracy Act would have been defeated in Congress, but when he set about copying almost 5 million academic articles from JSTOR (Journal Storage) Database at M.I.T. events did not go his way. Swartz maintained that as these articles had been financed from public funds they should be freely available. When he was caught, JSTOR chose not press any charges but the Federal Government did and very aggressively pursued Swartz and indicted him with a total of 13 felonies. To its shame, M.I.T. just stood on sidelines and did nothing.

    The beauty of Brian Knappenberger’s rather wonderful documentary of this extraordinary young man is that he makes a concerted effort to show not only why the online community was in awe of his seemingly unlimited talent, but by including his very supportive and proud family and friends, he showed what an exceptionally nice person Swartz was too. This very unassuming man was magnanimous and both reserved and quiet but he seemed to blossom as more people called on him to help. He was a passionate thinker who used the same logical approach he employed when programming also in how tackled any social injustice he came across.

    Why he took his own life is never really explained in the movie, but what is very clear from listening to all the evidence is that was a wasted life cut short. However his memory just doesn’t live on with his loved ones, and with the online community who are in awe of all his inventions and achievements. In 2013, a Bill was introduced to finally reform the ambiguous and outdated Anti-Hacking Law that the Government used so mercilessly against him. The Bill is called Aaron’s Law, as well it should be.

    Unmissable.

    Available on Netflix

  • THEATRE REVIEW | Adam and Eve and Steve, Kings Head Theatre, London

    ★★★ | Adam and Eve and Steve, Kings Head Theatre, London

    Adam and Steve theatre review, kings head
    It’s not Adam and Eve but Adam and Eve and Steve (plus the Devil) at The Kings Head Theatre.

    A musical version of the biblical story that we all know and love so well is just what we need in this time of Brexit and Trump. But in this story Steve (Dale Adams), and not Eve, is accidentally created by God (the voice and later the body of Michael Christopher) – thanks to Beelzebub – the Devil (played to camp perfection by Stephen McGlynn). But Adam (an innocent looking Joseph Robinson) thinks that Steve is actually Eve, but then God waves his magic wand and creates the real Eve (a sexy Hayley Hampson) and it all becomes very confusing for Adam. Beelzebub tempts them all to take a bite of, as he calls it, the pom (a/k/a apple) against God’s wishes. But Steve wants to be with Adam, and Eve wants to be with Adam, and Adam is confused, and what does Beelzebub (and the mostly gay audience) want?

    For Adam and Steve to hook up, and, of course, Beelzebub (and us) wants everyone to sin! Set to a sinfully silly musical score (‘I want to shop for furniture’ was one of the most memorable tunes) and tons of references to the existing world (Uber, Ikea, gluten free), with lots of skin on show, Adam and Eve and Steve won’t change your life but it will make you forget all about the outside world for a luckily brief 75 minutes.

    Adam and Eve at the kings head

    Adam and Eve and Steve Plays at the Kings Head Theatre until 29th April 2017

     

  • The best at BFI Flare – London’s LGBT Film Festival

    The best films of BFI Flare: London LGBT Film Festival 2017

    It was always going to be hard to choose. There were so many wonderfully well-done, and in some cases, amazing films that were shown at the film festival – one of the biggest, and best, in the world. There were over 50 features and more than 100 shorts shown, as well as a wide range of special events, guest appearances, discussions, workshops, club nights and more. And while it was virtually impossible to watch all of the features and shorts, I did manage to catch most of them. So herewith is my non-exhaustive list of the best of Flare:

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    1:54 is an explosive film that stars the excellent Antoine-Olivier Pilon (Mommy) which goes from a simple gay love story to an unexpected and shocking direction. It touches on all the relevant themes (bullying, young love, etc.) and first-time director Yan England excellently pulls it all together. A must see!

    Pushing Dead, directed and written by Tom E Brown, is a lighthearted comedy about an HIV+ man (a very good James Roday) and his trials and tribulations in getting his medication, finding love, and dealing with his boss and female roommate in San Francisco. It’s bittersweet, funny and lighthearted and will tug at your heart.

    Dear Dad is an excellent Indian film about a middle-aged father who comes out to his son while driving him to boarding school. It’s heartwarming and funny, with great performances all around.

    Eight long-term HIV+ survivors discuss their fears, challenges and milestones in the relevant and timely documentary Last Men Standing. With the HIV+ population getting older, these men celebrate life as they remember the past.

    The Trans List is an important documentary where several prominent trans and nonbinary people get to tell their story. Well known celebrities Laverne Cox, Caitlyn Jenner and Buck Angel are featured, but it’s the less well-known who make more of an impact; lawyer and activist Kylar Broadus, teenage student Nicole Maines who won a landmark lawsuit in America after she faced discrimination for wanting to use the girl’s bathroom, and Bamby Salcedo, founder of the Los Angeles-based TransLain Coalition and who faced lots of issues growing up. There are a total of 11 interviews in this documentary, but I could’ve watched a dozen more. It’s an important and relevant documentary.

    Southwest of Salem: The Story of the San Antonio Four, another important documentary, is about four Lesbians who were tried and convicted of sexually abusing children in the 1990’s. Fast forward and the women are finally exonerated for their alleged crime, and this documentary shows – through interviews and news footage – the women’s journey of their nightmare. Gripping, and bittersweet.

    Chilean film Jesús starts out as a buddy movie where the two young leads hang out with their friends and then have sex with each other, but their lives are changed, and the film takes a surprising turn, when they are involved in a crime. This event will tear their lives apart and the ending packs a wallop!

    Lauren (Velinda Godfrey) has to deal with the death of her girlfriend in the film Heartland. She also gets kicked out of the house they shared, so she has to move in with her bigoted mother, while her brother and his long-term girlfriend are visiting in order to set up a local wine business. But Lauren and the girlfriend develop more than a friendship in an event that tears the whole family apart, and brings up bad memories.

    Blow Job 2017 is a reimagining of the Andy Warhol classic, directed by Charles Lum and Todd Verow, that, for it’s four full minutes, focuses on David J. White, getting, as you guessed, a blow job. Why remake the 1963 classic? Because it was time to do so, and Lum and Verow do it in an excellent, grainy style.

    A film with commercial potential is Handsome Devil. Out gay student Ned (a wonderful Fionn O’Shea) is faced with another year in boarding school. His new roommate, lucky for him, is the star rugby player. But most memorable is Andrew Scott who plays a gay and sympathetic teacher. Scott is brilliant (and extremely handsome) as always.

    A film that will astound you is the documentary Out of Iraq. It’s amazing that this film was even made as it’s the true story of two Iraqi soldiers who fall in love, but of course, living in a country where gay men are killed is not the ideal place for a gay relationship. So one of them is lucky enough to move to the U.S. and it’s a four year wait for them to be back together. Their long-awaited reunion, and eventual wedding, will leave you in tears.

    This was just a few of the highlights of the BFI Flare film festival.
    The entire program can still be found on the link below and hopefully, some of these films will find their way to the cinema, or to the BFI website, or anywhere online. Let’s support and celebrate gay cinema.

    http://www.bfi.org.uk/flare

  • THEATRE REVIEW | Northern Ballet’s Casanova – National Tour

    ★★★★ | Despite his reputation for romance and his wild sexual liaisons, Casanova remains a historical figure with much more to offer than just a debauched lifestyle; and it is those lesser known aspects of his life which are subject to a brand new feature length ballet. Casanova was a trainee priest, musician, writer, social climber, mathematician, prisoner, gambler, food lover and fluent in seven languages. There is much more to Casanova than there first appears and this ballet explores his life and reputation in a way which debunks the perception that he was little more than a philandering Lothario.

    Photo Credit – Justin Slee

     

    With striking visuals, choreographer Kenneth Tindall tells the detailed and intricate story of Casanova’s extraordinary life and manages to pack in many aspects of his life in a way which never feels rushed or forced. Using a range of techniques, Tindall brings out the best in the company with routines that range from grand, sweeping set pieces to intimate movements; all of which combine to convey the story not only efficiently, but also in an absorbing and intriguing way. On a stage flooded with golds, oranges and purples, the first act is faced paced and dramatic; which subsequently yields to a more intimate second act filled with gentile and tender routines; leading to a finale which beautifully rounds off the show.

    There is an abundance of flesh on display, and the ballet does not shy away from Casanova’s sexual appetite, finding himself in the company of both men and women. In a refreshingly open way, there are scenes of sensuality between Casanova and a number of men; and the number of muscular arms, tight pecs and washboard abs on display gently, but tastefully ,nudge the production towards an edge of homoeroticism at times.

    Photo Credit – Caroline Holden

    Giuliano Contadini makes the most of his characters many layers and provides what is perhaps is most rounded performance to date as the titular character and the remainder of the cast are all proficient in their multiple roles.

    The production values are high, with lavish costumes and gilt edged props which reflect the sumptuousness and extravagance of the period setting. Add into that a set which creates a versatile dance space and multiple locations by the use of three pillars and a variety of forced perspectives; a stunning lighting design and an original score which is cinematic, sweeping and stirring and you have all of the elements of a very fine production.

    Casanova is currently playing at Sheffield Lyceum Theatre until the 1st April 2017 before visiting Norwich Theatre Royal, Milton Keynes Theatre, Cardiff New Theatre, Salford The Lowry and Sadlers Wells. Visit www.northernballet.com for full details.

     

     

  • Film REVIEW | Nocturnal Animals

    Film REVIEW | Nocturnal Animals

    ✭✭✭ | Nocturnal Animals

     

    NOCTURNAL ANIMALS film review
    Credit: Merrick Morton/Universal Pictures International

    Tom Ford’s highly anticipated second film, Nocturnal Animals, is both brilliant and confusing, no thanks to its three stories in one arc.

     

    Amy Adams is art dealer Susan Morrow (Amy Adams) who lives high above the Hollywood Hills in a seemingly loveless marriage to her philandering husband Hutton (Armie Hammer). One day she receives a book called Nocturnal Animals written by her ex-husband Edward Sheffield (Jake Gyllenhaal, in one of his best performances in years). It’s been 19 years since they broke up, well actually Susan broke it off with him, and she hadn’t heard or seen of him since then. So it’s bit unusual for her to receive a book from him, knowing that he’s been a struggling writer all his life. While her husband is away on one of his many business trips, she settles down to read the book. It’s then that Nocturnal Animals the book becomes a whole second movie, a second movie so brilliantly written, acted, and told that it should’ve been the movie that is Nocturnal Animals.

    The book is a tale of revenge, rape and murder, brutal and in your face and it’s directed wholly at Susan. While it’s obvious it’s a work of fiction, it’s brutal and horrific. The book as we see play out tells the story of fictional character Tony (Gyllenhaal) with his wife Laura (Isla Fisher) along with what could be (or not) their daughter – this plot point is not very clear, driving in Texas when they’re menaced by a gang of rednecks led by Ray Marcus (Aaron Taylor-Johnson in a performance you will never forget which won him a Golden Globe Award). The menacing turns much much worse, but only towards the women, and it’s too much to give away here to explain what happens to them. Suffice it to say you will be on the edge of your seat while this story is unravelling. And Oscar-nominated Michael Shannon is the cop who is roped in to investigate the grizzly crime.

    Nocturnal Animals also replays the beginning of the relationship between Susan and Edward – how they met on a New York City sidewalk, then had a loving relationship, only for Susan to drop him (it’s not clear why she leaves him).

    All of this is played out in just under two hours. Nocturnal Animals is a haunting romantic thriller with tension throughout, but it’s also a bit of a letdown after the brilliant A Single Man. Adams doesn’t have much to do except read the book in which the most exciting scenes of the film play out. A couple plot points are head scratching – a phone call Susan makes to her daughter – a real daughter or it she a hallucination due to Susan’s lack of sleep – (nocturnal), and Edward’s grudge for 19 long years – really? Nocturnal Animals is a movie that is so cruel and cynical, a story so much about disloyalty and especially about revenge, and it becomes very very violent and very very dark, and Ford dedicates it to his husband Richard and their son Zach. A bit narcissistic if you ask me.

    Now available for Digital Download, Blu-Ray™ and DVD
    From Universal Pictures Home Entertainment

    BLU-RAYTM, DVD & DIGITAL BONUS FEATURES:
    The Making of Nocturnal Animals – Amy Adams, Jake Gyllenhaal, Tom Ford, and other cast and filmmakers recount how they brought such a unique story to life including:
    -Building the Story – Tom Ford and cast examine the central characters and how they fit into the story.
    -The Look of Nocturnal Animals – Filmmakers and cast discuss how the cinematography and costumes give the film such a distinct and rich feel.
    -The Filmmaker’s Eye: Tom Ford – See how Tom Ford’s attention to detail adds layers to the two interwoven stories at the center of the film.

  • CLASSIC CAR REVIEW | 1992 Alfa Romeo Spider

    Think Alfa Romeo Spider and you instantly think of a gawky Dustin Hoffman and a sexy siren that is Anne Bancroft. The Spider, like Ms Bancroft aged gracefully with very little input from science or cosmetics. Here we take a look at a 1992 Spider that is some 25 years into the production run.

    Alfa Romeo Spyder 1992 review
    CREDIT: Stu Bird

    Launched in 1966 the Pininfarina Duetto as it was then known was built on a very shortened Giulia chassis. While the Giulia exhibited some fine body architecture in its details, it was upright and square and built around a typical 3 box design saloon. It also spawned the very handsome Bertone penned GT coupe models and then came the pretty open top tourer.

    It won praise from the motoring press. For its time it was sophisticated in its underpinnings and no matter what the engine size was, it liked to be driven hard. From the humble 1300cc to the very latest 2 litres with injection, it had the much enthused about twin cam from Alfa Romeo. All the UK could offer at the time were leaky MGB’s and shoddy build quality.

    The Italians have always been good at getting sports cars just right the first time. And ‘the time’ is the essential downfall for them too. It was perfect. So perfect that Alfa Romeo decided to halt development almost immediately after it was launched and close the book on it.

    There were some changes made over its 26-year production run. The stylised boat tail of the early ones was sheared off and made square for the series 2. Then following US regulations where the Spider was an important big seller for Alfa Romeo, it was endowed with big impact bumpers and a rubber spoiler that was literally stapled on it for the series 3. The final model as seen here was developed again out of regulations and fitted with fuel injection and those building girder bumpers were smoothed out. The rear end was also treated to another new look and in some ways looked more like a modern take on the boat tail.

    The main criticism for the UK lover of Alfa Romeo was that the Spider was available only in left-hand drive. Again another classic “qualunque cosa” or ‘whatever’ from Milan. UK importers did, however, offer right-hand drive conversions on the series 4.

    All this didn’t matter. It was an open-topped Alfa Romeo. There is something very passionate about Alfa Romeo and until you have owned one you never fully get to understand them. While they are not quite so thrown together as they were back in the 60s and 70s, they exude an unrivalled following.

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    Driving one today is a bit of a culture shock. This year sees the 50th year of the Spider. It’s hard to believe that it really is 50 years since it was exposed to the world. In this series 4 model, we are also granted power steering. Something I am told by owner Nigel that is essential. It certainly feels nicely weighted if a little indirect to gentle inputs. The Spider might have been a sports car five decades ago but like over cooked pasta it has gone a bit soggy on the edges when pushed to the limits.

    The driving position is very Italian. Read any old reviews on anything from Italy and you often would read about the long-armed, short-legged driving position you needed to adopt. It isn’t that bad. Again the passion for an Alfa Romeo by its owners is that they will put up with it just because it’s an Alfa Romeo. And don’t be put off by the gearstick that protrudes high up from the dashboard. It looks unnatural though in practice it works a treat.

    CIMG2226

    Treated as a weekend cruiser for pub excursions or showing off how wonderful your life is then the Spider makes sense. The 2 litre injected engine is eager though sadly because of the injection it loses the roar of the carburettors and the rasp in its exhaust note. It will keep up with modern traffic with a recorded maximum speed of 120mph. Not too shabby even by today’s standards.

    Roof off motoring is what the Spider is all about. With the roof up it really is a bit ugly like someone knocked up the roof in a shed so you’ll always want to lower it as often as possible. Roof lowered and it comes alive. The rush of air around you on a balmy early autumn day brings out the giddy grin in your face that makes you more excited than that day you got offered your first dance on a balcony in Sitges by a handsome man in a linen suit and exotic cologne. It’s refreshing.

    On the drive around town owner, Nigel did tell me off for changing up the gears too early. “Why are you in forth? Put it back into second and enjoy the sound” he said. Perhaps I was being a little mechanically sympathetic to someone else’s car but true to his word I did just that and lazy low down torque was replaced once again by the eagerness of the twin cam on tap and mechanical music.

    Owner Nigel has had the car for around 8 years. In that time it has seen a repaint and the wheels have been replaced by retro looking originals from the earlier Spiders. They look fantastic. Wife Helen was less impressed with the hit the bank balance took for them. Some mechanical dramas have been averted thanks to a fantastic network of support for old Alfa Romeos. He still has work that he wants to do it but at the moment she’s a keeper and Italian car nut Nigel wouldn’t be without it.

    I’d certainly have one. The pretty looks and Alfa Romeo engine are a pleasure to all the senses. Despite its visual faults, I’d have a series 3. I just happen to like a bit of tacked on ugliness and an underdog.

  • RESTAURANT REVIEW | Tang, London

    ★★★★ | Tang, London

    Chicken-TANG

    There’s a hidden gem of a restaurant right next to the Central YMCA near Tottenham Court Road – it’s called Tang.

    And hidden is the key word. You could walk right passed it if you weren’t looking for it. Nestled right between the YMCA and VQ Diner, Tang is identified by its name on the wooden door and its menu to the left, and it’s named on the overhang. And do me a favour, and don’t walk by, go into this tiny venue (maximum capacity is 38) and you will step into a place that does not feel like you’re in London. Welcomed by the friendly staff, the restaurant contains Chinese-style newspaper wallpaper, a cosy space, an open kitchen, and tiny photos that line one of the walls. Its unique feel is akin to being in a restaurant anywhere in Asia, yet it’s the food that make’s it worth walking in.

    Southern Asian specialities (Malaysia, Thailand, Singapore) are included in the menu that’s very small yet bursting with lots of appealing courses. We had two starters – the Fried Chicken (£5) and the Black and White – tofu (£4.50). The Fried Chicken (marinated in black bean soy milk and coated in batter) was nine generous-sized pieces which came with a three chilli hot sauce. While we almost all but ignored the hot sauce, the chicken was scrumptious and moist. The ten pieces of tofu were light and soft, and an unusual dish you can’t quite find anywhere else. It was served with white miso sauce that was perfect for dipping both the chicken and the tofu, and both very good value.

    We were both pleasantly surprised at our dinner choices. My dining companion had the massive Chicken Tang (a soup in a roast chicken broth with bean sprouts, egg, bok choi, spring onion, and garlic chips) and it was absolutely superb! Flavours that went very well together and was a beautiful-looking dish. She was in heaven with its rich substance – and it’s healthy food as well! (A veggie option of crispy tofu is on offer as well) I wanted something with meat and was glad I ordered the Beef and Rice. Braised beef and tendons served with coriander and jasmine rice was gorgeous, with its bok choi and crispy noodles included. It’s packed with flavour and highly recommended, though it didn’t quite fill me up so I would suggest a wallop more of rice be added to the dish. Both dishes cost £9 each – a great deal.

    There was one choice for dessert and it was the only choice you’d ever want. The Sugarcane Shiso Sorbet was out of this world! It was sugarcane (purchased in Brixton) with shiso leaves (tasting like mint) to give an absolutely refreshing ending to your meal – it was perhaps the best sorbet I’ve ever had.

    Tang also has a wide selection of perfect drinks to go with your meal, from local beer (London Beer Factory) to soft drinks (from the Karma Cola Company) to the very good juices (Owlet Fruit Juice). I had the delicious pear and ginger fruit juice – apple and elderflower was another option. The drinks on their menu you will more than likely not find anywhere else – they’re that unique!

    As I live close to the restaurant, I plan to return and try some of their buns (fried chicken, braised beef or crispy tofu), all at the ideal price of £4.50 or less. And the broccoli salad (£4.50) looks like an ideal small dish to look forward to.

    Tang is an absolutely affordable restaurant where two can easily dine for as little as £32. The staff are warm and friendly, and Canadian Jamie will answer any questions you will have about the menu. As it’s an open kitchen any questions you might have the cooks are right in front of you! It’s an intimate noodle bar that’s warm and welcoming – I can’t wait to go back!

    Tel: +44 (0) 207 300 3324

    https://www.tanglondon.co.uk

    Email: hello@tanglondon.co.uk
    Twitter: @TangLondon
    Address: 111 Great Russell Street
    London, WC1B 3NQ

    Opening hours:

    Monday: Closed
    Tues – Fri: Midday -3pm & 5pm – 10pm
    Saturday: Midday – 3pm & 5pm – 10pm
    Sunday: Closed

  • THEATRE REVIEW | The Frogs, Jermyn Street Theatre

    ★★★ | The Frogs, Jermyn Street Theatre

    The-Friogs-2-THE-FROGS-1-George-Rae-Zanthia-and-Michael-Matus-Dionysos-and-cast-Photo-David-Ovenden1

    Stephen Sondheim is the grand master of some of the wittiest, campest and catchiest musical theatre numbers of all time. He’s also still going strong and still writing at 86. His back catalogue is staggering with Sweeney Todd, Into the Woods and Company to name a few, so it’s exciting to see a rarely revived 1974 musical re-surface.

    There’s always a worry that there’s a reason a musical stayed under the water (be warned, the ‘frog’ puns are just too easy to resist) and in this case, it’s easy to see why this one floundered and never quite hit the shoreline.

    The story is based on an ancient Greek comedy and concerns a demi-god and his slave who decide to travel to the underworld to bring back a great writer. It’s as silly a story as it sounds and a mad musical but one with a timely political undertone about the role of the arts in society. The chorus sidle on and off the stage playing a variety of parts, jazz-handed and legs crossing and high-kicking in the tiny space of The Jermyn Street Theatre. Dionysos and his slave have some great interactions but the songs are sparse with long discourses in between about theatre and the arts. It sounds dull but isn’t at all, apart from a peculiar piece in the second act that slackens the pace. This being Sondheim, the lyrics are densely packed and razor sharp. It can feel like a list of ‘in’ jokes at times with riffs on theatre etiquette and the behaviour of actors but they’re funny ‘in’ jokes nonetheless. Michael Matus as Dionysos is a musical theatre stalwart/legend and it’s a privilege to see him perform in such an intimate venue.

    The Frogs was originally performed in a swimming pool with Sigourney Weaver and Meryl Streep splashing around amongst the cast. According to Sondheim, the acoustics made it sound like it was being sung in a urinal and it bombed. Nathan Lane (The Birdcage, The Producers and The Good Wife) re-invigorated the play in 2004 but still; it’s a difficult beast.

    If like me you’re a Sondheim fanatic then you’ll love this. If you’re not initiated then it might feel like a drag.

     

    The Frogs plays at the Jermyn Street Theatre until 8th April 2017

  • THEATRE REVIEW | Stepping Out

    THEATRE REVIEW | Stepping Out

    ★★ | Stepping Out, Vaudeville Theatre, London

     

    Stepping Out steps into the West End again but it’s on the wrong foot and it’s not a very exciting show.

    First staged in the West End in 1984 and running for three years and winning an Evening Standard Comedy Award, Stepping Out was then made into a 1991 movie starring Liza Minnelli. It now returns to the West End in a new production starring Amanda Holden and Tracey-Ann Oberman among others playing characters from various backgrounds who attend a weekly dance and tap class. They also meddle – no surprise – into each others personal lives. Holden is Vera, a wealthy woman who seems to have nothing better to do because her whole life revolves around her husband who apparently spends lots and lots of time with their teenage daughter. Then there is Oberman who plays the brash Maxine, and who gets all the best lines in the show. Anna-Jane Casey is Mavis, the dance teacher who is a bit frustrated, not only because her students can’t dance but also because she’s got issues in her personal life (Tamzin Outhwaite had to pull out of this role temporarily because of a broken foot). So Stepping Out centres around the seven women (and one man – Dominic Rowan as Geoffrey) plus the piano player (a wonderful Judith Barker) as they dance and talk but then get the opportunity (of a lifetime!!!) to perform at a charity show. Wow, how exciting! Will they be ready for the show in time? Will one of the students not drop her hat like she’s done many times in rehearsals? Will more dark secrets come out and, god forbid, will one of the woman pull down the towel where Geoffrey is changing behind to add a bit of excitement to this show because this show has no excitement at all?

    It’s The Full Monty without the Monty! Sure, the women do their best to get ready for the big charity show, but it’s hardly worth our time. We really don’t get to completely know, or sympathize, with the characters, and only a couple are likeable (Sandra Marvin brings a bit of sass to her role as the token black woman – Rose), and Oberman is wonderful, but there’s not really a whole lot to love in this production. Rowan is one note – not at all attractive or likeable as the lone man – he’s a widow but it would’ve been nice to put him in some sort of romance with one of the ladies. Written by Richard Harris in 1984, with this version directed by West End producer wonderwoman Maria Friedman, Stepping Out, which will be playing at the Vaudeville Theatre until June 17, 2017, probably won’t last that long. Do yourself a favour and just step right past the theatre.

    Book tickets now