THEGAYUK

Category: Review

  • THEATRE REVIEW | La Cage Aux Folles

    THEATRE REVIEW | La Cage Aux Folles

    ★★★ | La Cage Aux Folles

    La Cage aux Folles Theatre tour review
    CREDIT: Pamela Raith

    You’ve probably heard of or seen this musical in some form or other. You might know it as the 90’s Robin Williams/Nathan Lane comedy film The Birdcage, the original French farce and subsequent film version from the 70s or the often revived 80’s Broadway musical.

    It’s a queer little story in more ways than one. Drag queen Albin and his long-term lover Georges run a nightclub in St Tropez. Georges’ son (from a drunken one night stand) who they’ve raised together wants to bring home his fiancée and her ultra-conservative parents. There’s one condition, though. Albin must be hidden away for fear of embarrassing their son with his high camp ways. 

    Famously launching the gay anthem ‘I Am What I Am” onto the world, this is a musical that emerged during a storm of reawakened prejudice amidst the AIDS crisis yet managed to lure thousands of people into seeing a heartwarming and fun show about gay men in a committed relationship. It revved up an astonishing reaction in an army of straight men dragged along by their wives and girlfriends who then ended up dancing in the aisles and cheering on a flamboyant and camp main character as he fought against prejudice. Quite a feat.

    La Cage aux Folles Theatre tour review
    CREDIT: Pamela Raith

    This touring production is a bit of a paradox. It feels undercooked and underwhelming in parts and there’s a distinct lack of comic timing from swathes of the cast. In spite of this, it’s also incredibly good fun. Yes, it’s like a night at ‘Funny Girls” in Blackpool. Yes, it’s more Danny La Rue in pantomime than RuPaul. Yes, the drag queens would certainly get a dressing down from Michelle Visage for sloppy padding but it’s got an infectious charm nonetheless.

    John Partridge (best known for his role as Christian Clarke in Eastenders) as Albin shows his musical theatre pedigree and belts out a tune with panache. He’s also not a bad ad-libber (although be warned, public transport users. The show overruns due to this). The sets are stylish but wobbly. The costumes are glitzy and although the plot is absurd it’s tolerable. Forget production values and all that stuff though. All in all, it’s a fun night and the audience at The New Wimbledon Theatre were ecstatic.

    ‘La Cage aux Folles” is on a national tour throughout 2017, book tickets here

  • FILM REVIEW | I Am Divine

    ★★★★★ | I Am Divine

    As Jeffrey Schwartz’s excellent new documentary I Am Divine is released in the UK, The Gay UK’s film critic Roger Walker-Dack caught up with legendary filmmaker John Waters for a few personal words about his muse and great friend Divine.

    John told us ‘When it comes toI Am Divine I have let Jeffrey be the one to speak, as it’s his film in this instance he’s the one who deserves the attention. I’m STILL shocked that Divine is dead! Divine had a great life in the UK, and he’d be thrilled that the film is being so well received.’

    Glen Milstead aka Divine was unquestionably John Water’s finest actor and muse. Not simply because of his talent that was as outsize as his physique, but because like Waters he was both totally fearless and dared to push the boundaries of bad taste as far as he possibly could. And he did it all in such outrageous style and unfettered enthusiasm that made him such an iconic cult figure.

    In filmmaker Jeffrey Schwartz’s new very upbeat documentary into this unique entertainer and character, we learn that Divine had always dreamt of being a movie star since he was a kid who had been picked in and bullied at school as being both effeminate and fat. And he did deservedly become one and was just about to parlay his major underground success into the mainstream with a (non-drag) part in a nationally syndicated TV sitcom when he dropped down dead in Hollywood after a massive heart attack the very day before filming was due to start. He was just 42 years old. Manager, Bernard Jay poignantly claimed that as Divine was at the peak of his career, he had at least died happily.

    Divine and John Waters both grew up in Baltimore and met when they were teenagers. They made anarchic campy home movies together at the beginning with exaggerated characters in outrageous situations with hyperbolic dialogues. They were never meant to be shown outside of their wee band of local actors that included Mink Stole, Edith Massey, and David Lochary (the latter becoming a big love of Divine’s life before his own untimely death). But word got out and soon people were clamouring to see the films that got bigger and even bolder.

    Water’s ‘trashy trilogy’ ‘Pink Flamingos’, ‘Female Trouble’, and ‘Desperate Living’ cemented Divine’s reputation as a movie diva, in particular, Flamingos which earned him the title of ‘the filthiest person alive’ after the notorious scene where he actually ate dog faeces. And after these successes, he also started to diverse his career taking starring roles in Off-Broadway shows, and becoming a very successful disco recording star. He added a whole new meaning to the word ‘fierce’!

    Many of the interviewees that Schwartz included gave Divine great credit for expanding the concept of the drag queen from brash female impersonator into something much larger, more subversive and less gender specific. Yet without a single exception, none of the TV chat show hosts that interviewed him could deal with the fact that Divine was sitting opposite them in men’s clothing calmly stating that ‘she’ was a character that he played and not the person he actually was off the screen.

    Matinee idol Tab Hunter recounted the joy he had at working with Divine on two very successful movies ‘Polyester’ and ‘Lust in The Dust’. These were followed by ‘Hairspray’, which turned out to be Divine’s biggest hit and very last movie.

    Schwartz beautifully captures both the joyous nature of Divine’s flamboyant life and also the great sense of sheer enjoyment he had. He includes the completely tasteless clip from ‘Eat Your Makeup.’ in which Divine played Jacqueline Kennedy in a grotesquely amusing re-creation of the Kennedy assassination just two years after the event. But he also shows the scene from ‘Multiple Maniacs’ where Divine’s character is raped by a giant lobster! A perfect epitaph.

    Someone said towards the end of the movie … ‘after him, no-one can ever now be called Divine … he OWNS that title’. Too true.

    An unmissable flawless movie.

    The fabulous UK and Irish Cinema and VOD release of I Am Divine is one week away!

  • FILM REVIEW | Love Is Strange

    FILM REVIEW | Love Is Strange

    ★★★★★ | Love Is Strange

    Love Is Strange one of the most talked about gay movies of the year has been wowing both crowds and critics in the US since it opened in August. The New York Time’s Movie Critic recently said it would be his personal pick for the Best Picture Oscar. Now it is finally about to open in UK Cinemas, here is our take on this superb love story.

    In Ira Sach’s follow-up to his highly acclaimed 2013 hit Keep The Lights On, love is also extraordinarily wonderful too. It’s the tale of George & Ben a devoted couple who have enjoyed a somewhat glorious life together in Manhattan for the past 39 years. Now that same-sex marriage is legal in NY they decide to have a joyous wee ceremony surrounded by their close friends to tie the knot and make it all ‘official’. Everyone is happy for the two men now in their late 60s, except for George’s employers who had been blissfully aware of his relationship with Ben in the 12 years he had taught music at their school. Marriage, however, was too much for them, the Catholic Church that is, so in an act of Christian charity they unceremoniously fired him on the spot.

    With Ben already retired and George unable to find another job the men soon ran out of money and very reluctantly had to sell the Co-op Apartment that they had lived in for decades. Sadly none of their friends in the city had a spare room to put the couple up in, so for the very first time since they had met, they had to split up whilst the hunt for a new affordable Manhattan apartment continued.

    George moved in with a couple of handsome young gay cops next door and crashed on their couch. The trouble was that his new ‘landlords’ had a seemingly endless list of young friends who loved to hang out at the apartment and party all hours, usually whilst sitting on George’s ‘bed’. Ben, on the other hand, was given a bunk bed in his great nephew’s room, something the young rebellious teenage bitterly resented.

    As time passed, and with no sign of a new apartment for the newly weds, tensions got very strained. George could hardly bear living in party central and getting little sleep, and Ben seemed stuck in the middle of an escalating feud between his great nephew and his parents who saw eye to eye on nothing. It was when the latter eventually erupted and the boy was grounded after being caught out being led astray by a much older school chum, that there was a breakthrough between him and his old gay ‘nuisance’ Uncle. In a very touching scene when the boy broke down and didn’t just share but actually listened for once, he learnt from Ben about being true to himself and loving who he wanted too without shame.

    It’s impossible to say where things led to from this point without giving spoilers in what is such a beautiful and touching story. It’s a neat lesson in hate (the Church), and in tolerance (the family) and a perfect example of love that is quietly understated and without histrionics.

    George and Ben are portrayed so exquisitely by veteran actors Alfred Molina and John Lithgow and are the perfect epitome of a devoted couple completely in love and who totally idolise each other. The very obvious chemistry between the two on screen is completely convincing and they are a sheer joy to watch.

    There is absolutely nothing ‘strange’ about George and Ben’s love especially as it is the focus and example to all the other couples in this charming story whether they are gay or straight.

    Mr Sachs has created a fine feature about mature love that shouldn’t just be niche marketed as a ‘gay film’ as it deserves and will delight a much wider audience.

    P.S. And I am thankful to him too that this is one ‘gay theme’ film that doesn’t have the obligatory nudity.

  • THEATRE REVIEW | Yank! The Musical

    ★★★★ | Yank! The Musical

    Yank! The Musical review
    credit Anthony Robling

    Manchester’s Hope Mill Theatre is the perfect setting for this MGM-style musical which is performed with style and honesty.

    This new musical, written by brothers David and Joseph Zellnik, is having its premiere at the Hope Mill Theatre in Manchester. It is an apt location for this innovative piece which buckles the trend of new pop-musicals. Yank! is billed as World War II love story. While ostensibly this is true – it’s actually much more than it gives itself credit for.

    The show centres around Stu, a young gay man, who is drafted into the army to fight in the Second World War. He struggles to find his literal and metaphorical place amongst the pseudo-masculine military men – a mission which is only complicated by his complex relationship with his fellow squadron Mitch.

    Musically and stylistically, Yank! has all the makings of the classic MGM musical. Though the second act goes to places which are considerably more candid and poignant that you might expect from a show consisting of tap-dancing men in khaki.

    Scott Hunter plays the timid Stu with a fragile believability and Barnaby Hughes’ Mitch has all the charisma you’d expect from an, albeit untraditional, leading man. The ensemble cast are also strong all-rounders and support the principle cast in moments of hilarity and sincerity alike.

    Despite the show being set almost 80 years ago, the tropes of this new musical are as current as ever. Substitute the frontline with a school playground, workplace or a homophobic family home, and you’ll see that the struggles of young gay men are not confined to the stories of history.

    The tropes surrounding institutions and homophobia couldn’t be more timely. In recent years we’ve seen the legalisation of gay marriage, the story of Alan Turing been turned into a Hollywood film, and scores of gay men being posthumously pardoned for sexual offence crimes.

    Baker, the show’s director, said that he didn’t want these stories to get lost from history. With this charming new musical hopefully set to become a staple of musical theatre repertoire, the story of Stu and Mitch, and the men they represent, will hopefully live on for years to come.

    Yank! The Musical plays at the Hope Mill Theatre until 8th April 2017

  • THEATRE REVIEW | One Love: The Bob Marley Musical, The Birmingham Rep

    ★★★★★ | One Love: The Bob Marley Musical

    Played with your heartstrings and lullabied your soul

    © Helen Maybanks

    Few names exist in the music industry where sparks have spread like wildfire across the world. Bob Marley was certainly the sensation that reached many people around the globe, and the feeling that ripples still decades later. Bob’s vision, talent and style have made him an eternal flame.

    The Birmingham Rep hosted ‘One Love: The Bob Marley Musical’, and an epic event it was! Written and directed by Kwambe Kwei Armah, ‘One Love’ celebrates the icon Bob Marley in a delicate, timeless and memorable way. Through the history of his early music career to his later achievements, the audience were transported on a journey evoking nostalgia and emotion from the depths of your core.

    Mitchell Brunings played Bob Marley in an effervescent way that drew you in instantly, and commanded the stage with mastery and ‘next-level’ leadership, as the remaining characters shone around him; upscaling the standard of the production. It was a flawless performance by Mitchell. As an ensemble, every artist was terrific and invested every ounce of energy into every move and musical note. Alexia Khadime who played Rita Marley was the second star of the show second to Mitchell Brunings, with her gifted musical range and was absolutely captivating in her acting. Alexia really added to the drama and darkness of the story and handled emotion expertly.

    The Redemption Song was my favourite moment in the show as the track was beautifully arranged to illustrate the moment Bob Marley’s life turned 360 degrees, returning to his routes.

    ULTZ designed the production and a vision that was fitting with the ambition of the show. Using multimedia against sets, creating moments in time with real footage corresponding with key events shown in the musical. People need to see this show for the education, entertainment and the ride down memory lane were as sweet as guava jelly!

     

  • THEATRE REVIEW | Dr Frankenstein – National Tour

    THEATRE REVIEW | Dr Frankenstein – National Tour

    ★★ | Dr Frankenstein – National Tour

    In a reimagining of the classic tale, Dr Victoria Frankenstein shuns her family as she relentlessly pursues her quest for knowledge and in her exploration of the part of existence where life and death meet. In her experiments with bringing the dead back to life, she creates a creature, which overpowers her and escapes. Haunted by her creation and by her guilt, her life begins to unravel as the creature returns a little too close to home.

    Photo Credit: Pamela Raith

    Mary Shelley’s definitive work is one which is firmly cemented in popular culture and one which is not easy to present with an original slant, which Northern Stage have tried to do. There were numerous themes of conflict portrayed within the production, with Victoria shunning religion in favour of science; her pursuit of knowledge at the cost of her compassion and the sacrifice of others for the preservation of one’s own interests. As the story arc progressed, there was something bittersweet in the way in which it takes a monster to make Victoria more human; despite how she treats her family and the way in which her self-driven ambition is ultimately self-destructive.

    Utilising a quasi-steampunk style set and, at times, some effective lighting; there was a relatively competent performance from Polly Frame as Dr Victoria Frankenstein; and whilst Ed Gaughan’s portrayal of the Creature was physically engaging, the way in which the creature spoke made many of his lines indiscernible. However, the closing scene was one which did carry some emotional weight and did bring the characters journey to a definitive and tender end.

    But sadly, the production overall was one which was never really hit its stride. The re-imagining of Dr Frankenstein as a female had such potential; but the struggles of Victoria to carve a path into the male-dominated medical profession or the challenges faced by her in breaking with the conventional female role was never really advanced, which, in the end, resulted in adding nothing of significance to the story. The timeline of the narrative was often unclear, with no clear demarcation between shifts in scenes or timeframes; and an intrusive sound design dominated the first act. But the biggest issue was that the production just lacked atmosphere and dramatic tension. A heavy reliance on the relationships between the Frankenstein family members meant for a limited narrative progression and the all too brief appearance of the creature throughout meant that the production felt more like a family drama than a gothic horror.

    Whilst there are some interesting themes on offer and despite a handful of redeeming features, this feels like a missed opportunity, and it is a genuine shame that the production never really achieves its potential, in what could have been a wholly refreshing and original take on a classic tale.

    Dr Frankenstein plays at the Sheffield Crucible Theatre (www.sheffieldtheatres.co.uk) until 15th March 2017  before continuing on its national tour. Visit www.northernstage.co.uk/whats-on/dr-frankenstein-tour for further details.

     

     

  • CAR REVIEW | Toyota C-HR Excel Hybrid 1.8 CVT

    CAR REVIEW | Toyota C-HR Excel Hybrid 1.8 CVT

    ★★★★ | Toyota C-HR Excel Hybrid 1.8 CVT

    Never before has a car arrived into the avenue and caused quite a stir like that caused by the new Toyota C-HR.

    Next door has been looking to trade in the BMW 3 series for one while those opposite are also considering one to replace their Nissan Duke. 

    Prepare to see more of them because they are good and I’ll tell you why.

    The C-HR arrived brandishing the ‘Hybrid’ moniker and I had a few grumbles. Mainly that it would have a CVT gearbox and like the Prius, it would be noisy. It’s not a Lexus so I wasn’t expecting Lexus levels of serenity.

    On the first drive home, I ate some humble pie through a closed cake hole. It was surprisingly quiet even down to road noise. With the exception of rough and worn out roads, you would struggle to hear more than a gentle tyre roar.

    That drive home also happened to be on a horrendous Friday night. It was dark, wet and everyone was rushing to get home while trying to avoid the fouled up M25. The C-HR was a safe choice that evening. For your £28,885 it had all the usual pieces of kit that you would want. Adaptive cruise, blind spot alert and lane assist.

    This serenity heightened the enjoyment of driving the C-HR.

    I was summonsed to my sisters over the weekend and the 2 hours drive each way was an enjoyable experience. It’s not the most engaging car to drive. Handling at first is a bit of a puzzler. It plays it too safe. Fundamentally, it understeers first and scrabbles away any excess speed in corners if pushed. At first, it feels a bit lacklustre. That is until you look at the speed you approached the corners in. It travels faster than you think it actually going so you become thankful that the C-HR is a little safe.

    These gemstones and fluid surfaces of the body make a bold statement. Toyota is pinning a lot on this kind of architectural visual, love it or hate it. In the current climate of grey designs of similarities, it visually hits you. To quote Toyota, “C-HR’s combination of faceted, gemstone-like shapes with fluid surfaces and elegantly integrated detailing creates a delicate balance of precision and sensuality”. 

    Now I am perplexed at that description. Cut through all of that and just say the exterior architecture shows it to have muscles, angular poise and function. In the real world, its striking visuals don’t add up. It isn’t sporty despite its coupe-esque looks on top of a crossover.

    I like the door handle position. In a normal position, it would look out of place. What l don’t like though is the rest of the rear door. The large pillar within the door and the handles placement all make for a really small rear door window. Sitting in the spacious rear with surprisingly good headroom that belies the shape, your view of the outside world is somewhat limited. Large C-pillars and black colours make for a claustrophobic environment for those in the rear. What you do notice from the rear seat is the architecture of the headlining. I’ve never paid any attention to it in any car this side of a 70’s Rolls Royce Camargue.

    What I did absolutely love the most about the interior was the large infotainment screen. What made it even better is that it’s angled more towards the driver. It’s only ever-so-slightly done by a few degrees, making the screen very easy to read very quickly. A quick glance at the screen is all that is needed to find what you wanted to look at. The dashboard display is also typical Toyota and made to be easily read at a glance. 

    Most screens are centralised in a position to accommodate left and right-hand drive models. Let’s hope more start to do this.

    The ride is compliant and smooth. It restored my faith in the Toyota brand that they can make a hybrid that is quiet. The stereo is a little quiet too. Even on the loudest settings it wouldn’t blast out a Kylie tune. 

    My real quibble here though falls to the CVT gearbox. I just don’t like how they work. It’s not their working per se because in normal usage it works well. What ruins it is the moment you become the press-on motorist in a hurry. 

    The 1798cc engine does a great job in propulsion. Maximum torque of 142Nm is there at a useful wide range from 3600 to 4000 rpm. It’s just that you don’t really need to hear all of it and its 97 horses galloping at a higher 5200rpm as it spins away. Why Toyota can’t fit a step up or down system as fitted to the Lexus belies me. Or why they couldn’t give it a better automatic is beyond me. Always a better way Toyota say, a 9-speed auto would be better.

    I’m being hyper critical really and for a good reason. I don’t want to award the C-HR well and not warn of this pitfall. Try it and you might think I am talking rubbish. It’s a good car. I’d have one. It’s well thought out in design. It will carry you in the grimmest of weather on the foulest of days. There will be no fuss made. There are cars out there for more money that can’t do what this Toyota did for me on that Friday. It had me won over within the first 10 miles and it will you too.

    Love

    Ergonomics

    Economy

    Design

    Loathe

    CVT gearbox

    Small rear windows

    Stereo isn’t loud enough

    The Lowdown

    Car – Toyota C-HR Excel Hybrid 1.8 CVT

    Price – £28.885 (as tested)

    MPG – 72.4mpg (combined)

    Power – 120bhp @ 5200rpm petrol (bhp 90 for electric motors)

    0-62mph – 11 seconds

    Top Speed – 105 mph

    Co2 – 87(g/km)

  • THEATRE REVIEW | Who’s Afraid Of Virginia Woolf

    THEATRE REVIEW | Who’s Afraid Of Virginia Woolf

    Who’s Afraid Of Virginia Woolf

    Who's Afraid Of Virginia Woolf review
    Credit : Johan Persson 

    There are plays that are legendary and roles that have become iconic, making them feel impossible to reinterpret.

    The lacerating portrayal of George and his brash alcoholic wife Martha in Mike Nichols’ 1966 film by real life hard drinking, on/off couple Elizabeth Taylor and Richard Burton was a work of perfect genius.

    Surely this is impossible to equal? Watch and learn though. James Macdonald’s version is as close to perfection as can be and the assembly of a sublime script, a clutch of multi-award actors and a notable director have created something breath taking and rare.

    Have you ever had one of those nights where you’ve had too much to drink and end up holed up with one of those bickering couples who are determined to emotionally swipe at each other? Meet George and Martha: a middle-aged failed author, college lecturer and his drunken wife, daughter of the head of the college. New to the campus are Nick and Honey. He’s a prime piece of beef, a precocious high achiever in his late twenties with a mousy wife who can’t handle her drink. It’s way after midnight and the drinks are flowing. Let the games commence.

    Openly gay playwright Edward Albee was often asked about theories that the two couples in the play are based on gay men. He rubbished these claims and stated that had he wished to write about gay men then he would have done so. Whatever his intention this is a funny, painful play. Whether taken at face value as a play about relationships or as something deeper about the state of America or humanity, it’s a marathon at three hours long, but that’s worth taking part in in one and is as joyful as it is visceral. As the couples take bites out of each other the one-liners flow and the comedy morphs into something more painful and ultimately illustrates something touching and tender.

    Macdonald has captured more of the comedy in the piece than in some versions and Imelda Staunton and Conleth Hill are pitch perfect actors. Luke Treadway manages a fine depiction of cocky male confidence and it would be remiss of me not to mention his equally fine buttocks that he moves to strong effect. Imogen Poots is endearing as Honey. Their iconic roles and hard for an actor to make his or her own but the team manage this with aplomb.

    This is theatre at its finest. Go and see it now. It’s not often something this hot comes to town.

    Who’s Afraid Of Virginia Woolf plays at the Harold Pinter Theatre until 27th May 2017

  • 60 Second Film Review | Logan

    60 Second Film Review | Logan

    LOGAN – Wolverine the breakout star of the X Men universe in his tenth and final appearance – pitched as the Superhero film unlike any other and boy did they deliver that.

    Logan review
    Ben Rothstein-© 2017 Marvel. TM and © 2017 Twentieth Century Fox Film

    Nutshell – A few years after the last X-men movie, and Wolverine a.k.a. Logan, is now pretty ancient doing rubbish work. Hiding in the Southern states to finance the medicine an even older Professor X who is on his last legs, as it were, across the Mexican border. They get embroiled with a young girl who needs their help and a cross country chase ensues. This is less a superhero movie and closer to a Jason Statham or Rambo, Schwarzenegger style fight movie – against the odds and it gets very dark indeed.

    Running Time – 135 minutes;

    Certificate – 15; yes that is right this is not kids’ entertainment and closer to a Kick Ass movie.

    Tagline – ‘His Time Has Come’ and maybe others time has come too (spoilers).

    THEGAYUK Factor – Hugh Jackman’s shirt is off an awful lot here and boy is the Aussie hunk looking pumped up and lean in all the right places. Loads of sweaty man on man fight action too as you always get in this genre and it could be the most masculine superhero film ever. No hetero love interest also helps it along here.

    Cast – Hugh Jackman who has made Wolverine his own for 18 long years, Patrick Stewart, the hunky Boyd Holbrook, Richard E Grant old Withnail himself on villain duty and Stephen Merchant gets out of the Office and away from Ricky Gervais for a couple of hours in the Marvel universe.

    Key Player – Jackman does what he always does and does it well but the real star here is Patrick Stewart. This film requires some serious acting rather than action chops and Stewart is one of the best at sucking every drop of emotion out of a scene.

    Budget – $97 million which is cheap for a Marvel tentpole and it made six figures and climbing in its first week so like all superhero films the profits are going to be huge.

    Best Bit – 1.50 mins; At last we get some superhero action and it is thrilling and well worth waiting for although short. Always good to see the baddies who are pretty out there here get their comeuppance in creative ways.

    Worst Bit – 0.45 mins; This is a very long film (The second longest X-men to date) and it sags a bit in the middle with a drawn out casino segment, garage segment and then a farm segment all with valid individual plot points but it really stretches the movie and makes it pretty episodic.

    Little Secret – This is the last film in which Hugh Jackman will play Wolverine. He has cited his age and his skin cancer as factors in him retiring from the role. The first Marvel film to not have an end credit scene and also no Stan Lee cameo. All very different.

    Further Viewing – X Men, X 2, The Last Stand, Origins, First Class, Wolverine, Days Of Future Past, Deadpool & Apocalypse the entire clawed heroes canon plus everything else that starts with the Marvel or DC logo plus every 80’s man against the odds fight film.

    Any Good – Make no mistake this is brutal stuff with gore a plenty and very adult themes. It is a very entertaining movie and truly thought provoking but with the exception of the last 20 minutes in no way is this a superhero movie as we have come to know them. Therefore alter your expectations accordingly to avoid disappointment and then you will love this for what it is… an out and out drama and a fitting climax to Logan Scissorhand’s story.

    Rating – 73% out of 100

  • THEATRE REVIEW | Frankenstein, Wilton’s Music Hall, London

    THEATRE REVIEW | Frankenstein, Wilton’s Music Hall, London

    ★★★★★ | Frankenstein, Wilton’s Music Hall, London

    A re-imagining of the classic story Frankenstein is told to amazing effect in the new show simply titled ‘Frankenstein.’

    In the perfect venue that is Wilton’s Music Hall, George Fletcher is a wonder as he portrays both Frankenstein and The Creature. Fletcher lives and breathes his performance for every one of the seventy minutes he is on stage. Assisted by Rowena Lennon as the chorus and as his wife Elizabeth, Fletcher gives a very physical performance where he morphs from man to grotesque monster, right before our very eyes.

    Working with a bare minimum on stage, which includes two bright lamps, a chest, and a full length mirror, Fletcher as the creature learns to talk, say his name, while an audience member engages him to repeat his name, then her name. We are witness to this, Fletcher being both man and monster, and it’s a show and performance that is riveting, raw and amazing.

    Wilton’s Music Hall has just undergone a £3 million programme of restoration work to ensure the infrastructure of the building is sound, but it still might look like it did when John Wilton combined the existing properties in the 1860’s to turn it into what it is today. it looks, and feels, when you walk in, liked you’ve stepped back in time. Separate drinking areas encompass the two story venue, with two bars and a kitchen that serves a small a variety of food, including pizza. But it’s the actual Music Hall where the magic happens. And Tristan Bernays adaptation of the story of Frankenstein, with direction by Eleanor Rhode, is the perfect show for this venue. Shadows, high ceilings, and elevated sound all contribute to the eerieness of the performances and subject matter. Go see it now because Fletcher, fresh from graduating from the Royal Welsh College of Music and Drama, is one to watch!

    Frankenstein continues it’s run until March 18, 2017. To buy tickets, go to:

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  • RESTAURANT REVIEW | BabaBoom

    RESTAURANT REVIEW | BabaBoom

    ★★★★ | BabaBoom

     

    BabaBoom is the perfect restaurant in an area of London that shall, and will, embrace it.

    It’s a cozy, warm and petite place which serves food a bit different from the nearby Brewdog, Coté Brasserie, and The Breakfast Club restaurants. And the food at BabaBoom is really really good.

    Two can dine here easily for less than £50. And while the menu is quite small, the food on offer is varied, large, and delicious!

    On a cold and wet Sunday night me and my dining companion found BabaBoom very buzzing. Most of the 44 seats in this small restaurant were full – everyone from the staff to the customers to the cooks looked very very happy – which we noticed while we were led to the quieter back section where we enjoyed a new gastronomical experience.

    The Sweet Potato Tahini starter was superb! Served with a nicely charcoaled pita bread, along with beetroot, celery and fennel, it was a perfect dipping meal. The sweet potato gave this hummus-like dish new life – I can’t recommend it more. My dining companion had the Rose Harissa Labneh starter, which also came with the same vegetables and pita bread, yet the labneh was topped with chilli, unusual but it worked! But the best was yet to come.

    I had the Rotisserie Lamb Shoulder as my main course. And at £11.75 it was to die for! Served over a charcoaled pita, there was lots of succulent and tender lamb, along with a large helping of cole slaw, and a huge tasty cooked onion. I enjoyed every bite, though it was almost too big to eat as a sandwich. My dining companion had the Saffron & Orange Chicken Shish, as a salad, very colorful and served on a large plate. It came with the aforementioned coleslaw along with red peppers, and extremely tasty crispy flatbread. Though he felt the chicken tasted a bit plain, sauces were served with it to add to the flavor. Still a great deal at £9.25. Other kebabs on the menu include goat, short rib and falafel – something for everyone!

    Just so that we can taste more of the menu we ordered a few sides. I can’t explain how delicious the Dukkah Fries were! Small and crispy, and cooked with 25 spices (!!!!) which gave the fries a fabulous kick – different, again, but worked so well! Also recommended is the Harissa Roasted Squash Tabbouleh and the Smashed Aubergine with Pomegranate and Tahini. And to top it off, each side is only £3.50 or 2 for £6.00. An excellent bargain.

    BabaBoom calls itself a charcoal kebab kitchen, and that’s exactly what it is, and more. And more is what you get. They also serve brunch! Chose from teas to unlimited coffee and juices, to a boozy brunch with bloody mary’s and mimosas and margaritas (I had one with dinner and it was slush good fun!). For brunch you can choose from a Meat Kebab (sausage, date glazed bacon, tomato, 2 friend eggs & labneh) to a Veggie Kebab to a dish called the Ultrarunner (2 soft poached eggs, labneh, tabbouleh, fattoush salad & flatbread), to and including Eggy Bread (basically french toast)! Yum Yum!

    BabaBoom combines middle eastern flavours with quality British produce to deliver outstanding meals at very affordable prices. And well worth a trip to Battersea.

    Telephone: 07809903181

    http://www.bababoom.london

    Email: Hello@bababoom.london
    Twitter: @BababoomLondon
    Address: 30 Battersea Rise SW11 1EE

    Opening hours:

    MON 06:00PM – 10:00PM
    TUE 11:45AM – 10:00PM
    WED 11:45AM – 10:30PM
    THU 11:45AM – 10:30PM
    FRI 11:45AM – 11:30PM
    SAT 10:30AM – 11:30PM
    SUN 10:30AM – 10:00PM

    BRUNCH: Saturday & Sunday 10:30AM-3:00PM