Category: Review

FILM REVIEW | Fantastic Beasts and Where To Find Them

★★★★ | Fantastic Beasts and Where To Find Them

Courtesy of Warner Bros. Pictures

You cannot help but wonder how J.K Rowling’s Wizarding World (writing her first original screenplay) will work without Harry Potter and his crew.

Well, given that it is based in another country and about 54 years before Harry Potter was born, it was pretty easy to forget about him within the first 20 mins because you fall completely in love with Newt Scamander, the socially awkward and shy wizard, played by Eddie Redmayne, and his No-Maj friend (the new American term for a Muggle) Jacob Kowalski, played by Dan Fogler.

But all is not as shiny as a bag of Galleons; some of the editing with the action scenes leaves them loud, aggressive and hard to follow. I Imagine seeing this in the IMAX or/and in 3D could be pretty intense, but not in a good way.

The real screen stealer is Samantha Morton, who plays Mary Lou, a leader of the New Salem Philanthropic Society, an extremist group that exposed and eradicated witchcraft in the 1920. Her performance echoed the recent rise of the right wing in the USA, characterised by fear of change and their perceptions of ungodliness.

Overall this is a great entry into this magical world and shows that Rowling and David Yates (director of the final four Harry Potter Films as well as Fantastic Beasts) are Hollywood gold.

18th November 2016
FILM REVIEW | Lazy Eye

✭✭✭✭ | Lazy Eye

An L.A. graphic designer is contacted by a flame from his past that puts into doubt the relationship he has with his husband in the new film Lazy Eye.

FIfteen years ago Dean (Lucas Near-Verbrugghe) and Alex (Aaron Costa Ganis) were boyfriends in New York City. But after their breakup, Dean moved to Los Angeles to start a new life. But out of the blue Dean receives an email from Alex, and Dean, after working up the courage and giving it a bit of thought, invites Alex to come visit him in California. Dean still has feelings for Alex (now both in their late 30s), feelings that actually never went away, and Dean gets excited with the thought of seeing Alex again. Dean tells Alex to come and spend the weekend with him at his house in the desert near Joshua Tree.

So when Alex arrives him and Dean pick up right where they left off, jumping right into bed. But fifteen years is a long time for them to have last seen each other, and unfortunately sex is the only thing they have in common. And you see Dean forgot to tell Alex that he is in a long-term relationship with another man, who happens to be in Australia for work. This puts a strain on their weekend, but then there’s more drama when Alex suggests him and Dean get back together again, permanently.

Lazy Eye ( a really poor name for a film this good – the name comes from the beginning of the film when Dean has to get bi-focals because he’s got a lazy eye) is a gentle, easygoing and lovely story about two men who were, or were not, meant to be with each other (we’ve all been there!). Subtle and quiet direction by Tim Kirkman (who also wrote the clever screenplay) and great music by Steven Argila (and great scenery of the Joshua Tree area of the California desert) make Lazy Eye a nice crystal clear viewing, perhaps on your own or with an ex.

Now available on DVD and VOD

17th November 2016
THEATRE REVIEW | The Boys In The Band – West Yorkshire Playhouse, Leeds

★★★★| Set in Brooklyn in the late 1960’s , nine gay men gather in an apartment to celebrate a friends birthday. Michael is an alcoholic shopaholic, Harold is a self-depreciating “Jew Fairy” (as he describes himself), Larry and Hank are a couple trying to make their differing views on monogamy fit together and Emory is as camp as they come. Throw into the mix a rather attractive, but dumb, cowboy hustler, a closeted testosterone filled ex-college roommate and copious amounts of booze and pot, and it’s not long before lives unravel, tempers fray and a cruel party game emerges.

Photo Credit – Darren Bell

This long overdue revival of Mart Crowley’s classic play is most welcome, and whilst it is no longer as shocking as it was in the late 1960’s, the relevance and impact still resonates today; as, sadly, do the undertones of self-loathing and internalised homophobia. The range of characteristics on show from the main protagonists may seem slightly cliché now, but still manage to reflect a number of the sub groups within the gay community and the issues facing them. The first act is a rather whimsical affair, as the characters arrive and you get to know them, but as the second act progresses, the narrative takes a darker turn, leading to a gripping dénouement.

The cast is strong all round, with solid performances from the ensemble, particularly Mark Gattis (Sherlock, Doctor Who) puts in an effortless performance as Harold, filled with subtlety and natural aloofness. Ian Hallard (Poirot, Doctors) holds the cast together as Michael, and James Holmes (Miranda, Psychoville) is delightful as Emory, brimming with campery and confidence. And whilst Jack Derges (Andy Flynn in EastEnders) is a vision of physical perfection, he proves he is much more than the token eye candy with an enjoyable performance as the dim witted (and mostly shirtless) cowboy hustler.

The set is authentic and beautifully detailed, as are the costumes, but even though the fashions and décor have altered, the issues raised have not; and whilst some of the social impact of the play may have lessened with time, the personal impact hasn’t, and the gay audience will recognise aspects of themselves, their peers and their experiences amongst the events of the evening.

With some sharp one liners, genuine emotion and some top notch performances; don’t miss your last chance to see this this excellent revival before it ends its run. The Boys in the Band is playing at West Yorkshire Playhouse, Leeds, until Saturday 19^th November 2016. See www.wyp.org.uk for details.

16th November 2016
RESTAURANT REVIEW | Rudie’s Jamaican

★★★★ | Rudie’s – Great Jamaican food in hip Dalston!

Rudie’s offers what they call a ‘Boss Burger’ – a rare breed of beef chuck patty that is topped with apple wood smoke cheddar, sweet honey mustard, red onion, tomato, pickles and jalapeño chilli – and it’s huge – worth the £12 price. My dining companion ate the whole thing.

Sides were a must to have, and it was the Avocado and Mango Salad that was the best dish of the night. A snip at only £4.25, it’s a big bowl of fresh avocado and mango with dices of onion and tomato in a very nice vinaigrette dressing. Amazing. The Sweet Plantains were also amazing – at £3.00 a great deal – topped with a hint of sugar to give them a sweet flavour.

Desserts are recommended after your meal but they’re very small! I had the Rum Cake expecting a nice portion, but it was quite a small, perhaps the size of the palm of a hand. It was sprinkled with berries and almonds and a syrup sauce, and came with ice cream, but it left me wanting more! My friend had the Banana Brulee, it has a nice crust and underneath the coconut custard créme was heavenly, but again a bit on the small side. Both were £5.50.

It’s all about exotic drinks when going to a Jamaican restaurant, and Rudie’s does not disappoint! There are 10 delicious sounding cocktails to choose from, and while we didn’t have all 10, we did order the ‘Jamaica Nice’ – a nice smoothie with almond syrup, lime, nectarine, rum, with a huge slice of pineapple – it’s as delicious as it sounds! My friend ordered ‘The Colony’ – another rum cocktail that included brandy – he said it was smooth going down. All ten cocktails are priced at a very friendly £8.50 each.

The bill for the meal came to £80 – not too bad considering all the different types of food we ate, coupled with the drinks. Rudie’s is a great place to eat, with large windows so you can watch the passing trade walk by. Service is wonderful, and they’ve been in business for just over a year. With Dalston becoming the hip place to live, Rudie’s will most definitely live up to a similar mantra – it will be the hip place to eat.

Reviewed by: Tim Baros

Telephone: 0207 249 9930

Address: 50 Stoke Newington Road N16 7XB

Opening hours:

Mon – Wed: 18:00 – 22:00

Thur: 12:00 pm – 22:00

Fri – Sat: 12:00 to 23:00

Sun: 12:00 – 22:00

PRICE: ££ (explained)

STAR: ★★★★ (explained)

14th November 2016
THEATRE REVIEW | An Inspector Calls, The Playhouse Theatre

★★★★★ | An Inspector Calls, The Playhouse Theatre

CREDIT: Mark Mark Douet

J.B. Priestley’s 1940s play An Inspector Calls had languished somewhat until Stephen Daldry’s (The Crown, Billy Elliot, The Hours) landmark 1992 production.

The piece was much loved by amateur dramatic societies and small regional theatres, in part due to its seven-person cast and one room staging. Daldry’s revival, almost 25 years ago, at The National Theatre, gave the play a fresh lease of life with a radical new staging and a dramatic set design by Ian MacNeil. Now restaged again in London at The Playhouse Theatre, after long-running regional tours, this stylish and evocative revival is still feeling as fresh and pertinent as it did in the 90s.

In 1912 the wealthy upper middle-class Birling family are celebrating their daughter’s engagement to the son of a prominent family. The evening in their dining room in Bromley is interrupted by the arrival of Inspector Goole who tells them of the death of a young woman by a particularly gruesome suicide. The family are at first irked by the intrusion on their celebrations but gradually come to see that they each had a role in bringing about the woman’s downfall.

The stage is dominated by a giant dolls’ house raised high above the stage. This has to be one of the most breathtaking stagings of the last few decades. To describe the workings of the set would ruin the surprises but needless to say, it’s a clever design that enhances and doesn’t swamp the play’s message. Even though the smaller stage of The Playhouse feels a little cramped for the production, it’s still powerful and atmospheric. The cast are strong, and special mention must go to the excellent Barbara Marten as the monstrous Sybil. She imbues a touch of high camp without detracting from the horror of her snobbish coldness.

Can a revival of a play from seventy years ago, about a family from a hundred years ago still speak to today’s audiences? The answer is a resounding yes. The theme is self-interest, prejudice and how people use others weaker than them to get ahead. With recent world events and the scary rise of far right wing politicians, it couldn’t feel fresher. Or more chilling.

Follow Chris Bridges on Twitter

An Inspector Calls plays at The Playhouse Theatre

13th November 2016
THEATRE REVIEW | Pride and Prejudice, The Birmingham Rep

★★★★★ | Pride and Prejudice, The Birmingham Rep
CREDIT: Johan Persson
Masterfully personifies Austen’s work of art.

I remember reading Pride and Prejudice in my early teens, and recall falling in love with characters and the way they came to life on every page. Last night, Simon Reade’s stage adaptation delivered the feeling of nostalgia and I couldn’t help but fall in love again.

It is quite rare to see a cast where every character, minor or major, stand out equally, and contribute superbly to every scene they are in. This was true of Pride and Prejudice. I was blown away by the humour, the tension, and the vulnerability that every actor was able to portray throughout the production. Matthew Kelly did a sterling job as Mr Bennet, with his on-point comedic timing and powerful voice that rippled through the auditorium. The shining actor was Felicity Montagu who played Mrs Bennet, and what a sensation she was. Felicity was the true embodiment of the role and from minute one she had you in stitches. The dour portrayal of Mr Darcy by Benjamin Dilloway was accomplished and perfect for the character, showing Benjamin’s versatility, for his change of mood when he confesses his love to Elizabeth Bennet was more heartfelt and the audience were drawn in. There were some ‘awwws’ when he professed his true feelings to Elizabeth. Elizabeth Bennet, portrayed by Tafline Steen, was a whirlwind. Headstrong, charismatic, un-lady like, and the Elizabeth I envisioned when I first read the book. This was a typical feeling I had, as every role was expertly crafted to suit the novel, making it a magical experience for the Austen aficionados. Doña Croll’s Lady Catherine De Bourgh was a sensation and the epitome of the high class of the era. Her characterisation was composed, edgy and a little on the dangerous side.

The set, as well as the props and effects, transported the audience into the early 1800s where ‘things’ were seen of more value than people. Gossip and hearsay were a constant pleasure manifested in the society of the era, and Austen did a brilliant job capturing it. Simon Reade outdid himself by introducing to us the story we cannot help but go weak at the knees at every time.

I was so impressed by the energy and enthusiasm shown across the production that I want to see it again and again, and haven’t stopped recommending Pride and Prejudice to friends. Perhaps that is why there are scarcely any seats left!

Pride and Prejudice plays at the Birmingham Rep until 12th November

10th November 2016
CLASSIC CAR REVIEW | Skoda Felicia Fun

Oh Felicia, Where The F***K Are We?

You wouldn’t necessary associate the word “fun” with Skoda. Well, certainly not in the 1980s. Despite a good record in rallying and great advertising, Skoda was stuck in the lower echelons of the new car world. Even in 1989 with the release of the front wheel drive Favorite it didn’t help much. Step in Volkswagen who by 1994 had the first new Skoda models under their guidance ready to emerge named after a drag queen from a movie out the same year (this isn’t actually true).

In 1998 Skoda needed some much-needed sex appeal added to the brand to entice the young and what better way than with a pick-up truck. That’s right a pick-up truck. Not just any old pick-up, though. Painted in bright yellow with darker yellow extremity add-ons, the Felicia Fun was born. To accentuate the pick-up vibe, it even had an integral bull bar moulded into the front bumper and a rear handle bar type non-effective rear spoiler. Even the alloy wheels were yellow. Now who hasn’t cried out that well-known quote from Pricilla Queen Of The Desert when they saw a Felicia? Despite it being based on a rugged pick-up the Fun is about as butch as Judge Rinder and just as crazy as his first dance on Strictly Come Dancing. You can’t help but fall for its cheeky charisma.

To add to the “fun” Skoda went above and beyond with the yellow trim inside too. You got a leather covered steering wheel, gear stick and gaiter, padded door inserts and a splatterings design on the seats. Remember this was all in a bright yellow leather material. And then if that wasn’t enough you also got four yellow dials on the fascia too. It’s all rather brash and crude while at the same time being immensely enjoyable. Dare l say it, a fun place to be in.

This still wasn’t enough. Skoda wanted to give the youngsters even more but what could they give? While a yellow truckman top was available, a yellow piss stained mattress in the back was not. What you got instead with your two-seater pick-up with wood slatted rear cargo area was a pull out rear bulkhead that would further reveal two more seats. At the time this was amazing, and it has never been replicated since. The Fun really was a one of a kind.

The brochure that accompanied the Fun was about as sexy as you could get without fornication actually happening in print. Two dudes in Hawaiian shirts enticing two pretty young gals. And then there was innuendo. “Open up for extra fun” was one slogan. “Two + two = fun” or a foursome in my mind. It was all fun fun fun and there was the sun too. Something the UK sort of lacks on most occasions. So keep it realistic and think grey skies and Billericay.

Like the crowned frog decal on the B-pillar that no one knows what it is supposed to mean, no one knew where the f**k Skoda were going with the Fun. At the rate it sold it outstripped demand of the 300 units originally sent to the UK. A further 300 were needed to meet the demands of the young. Rumour has it there were 601 in total imported to the UK. According to statistics, there are around 267 cars still on the road and 154 on SORN. Not bad for a commercial pick-up that has a tendency to rust violently anywhere around the rear bed area and sills.

Mechanically it is basic Skoda Felicia with a fuel injected 1600cc engine. In practice, it felt quite spirited and the drive surprisingly rattle free. Being one of Volkswagens engines it also means it has a pretty good reliability record.

Owner Matthew has owned Nessa for almost four years after seeing an advert on that well-known auction website and clicking the ‘buy it now’ tag. A trip to a farm in Wales revealed that the Fun was anything but. Instead, it was being used as a proper pick-up truck that wasn’t what it was designed for. The rear bed might have been full of wood but it wasn’t the wood that raises the pulse rate dressed in a Hawaiian shirt.

The drive home was eventful with a failed Lambda sensor and nearing home the back end decided that supporting itself was no longer an option and gave up. After being turned away by several garages which couldn’t see the potential to weld it up, Matthew finally found someone who in essence rebuilt the rear end. Sometimes having to fabricate parts no longer available.

Having returned it to the road and continuing the rolling restoration, Matthew continues, “It was always sure to turn heads! However, you do need to like yellow. It was a car I had fallen in love with as a young lad on my way to school, passing one every day thinking it was the coolest car I had seen. Knowing that Skoda’s weren’t cool I kept quiet. Now I get to drive my own and it still makes me smile every time I go out in her.”

By the end of my time with Felicia Fun l was sold on the whole idea. It makes so much sense. A two seat pick-up workhorse most of the time that could take four. And no one need get wet in the rain with a truckman top. Having tested several pick-ups lately, l thought there wasn’t much left for truck development in passenger carry overload lugging. I’ll tell you were Skoda are with this and that’s ahead of the game. Sadly no one does this kind of thing.

Thanks to Matthew for the time with the Fun.
Gay Classic Car Club for allowing me to ask for cars to try from its members.

Gay Classic Car Group

9th November 2016
THEATRE REVIEW | The HIV Monologues

★★★★★ | The HIV Monologues

CREDIT: Dionysis Livanis

From AIDS to PrEP: Love, Sex & HIV

If you met a moreish specimen of a man on Grindr, in Rupert St Bar or at a friend’s gatherette and there was immediate trouser-twitching, shimmies to the heart department and your thoughts turned towards naming your first pair French bulldogs – but then, after some time into this meet, said hottie informs you he’s HIV positive – do you know how you’d react?

Marking twenty years since life-saving HIV medication was introduced to the UK, Patrick Cash has penned a very real production that will send sparks to your neurons, pricking your nervous system: a trio of scenarios that are entwined together touching on the effects of HIV in the 80s up until the current day.

Alex (Denholm Spurr) – a Labrador puppy intermixed with a male cheerleader with obtuse understanding of the immune-attacking virus – struggles with the idea of being close to someone who’s positive, and barely has enough shrapnel to buy even the smallest tube of lube. The out-of-work actor gets himself into a sticky situation with the truth.

Lack of knowledge inflames fear, but understanding can provoke the guardian in all of us. Irene’s (Charly Flyte) journey nursing AIDS patients is moving and compelling. Barney (Jonathan Blake – one of the first people to have been diagnosed with AIDS in the UK) learns to live with the deficient insight with HIV in the 80s – a convincing performance.

A Thunder Looper of emotions: stigma, humour, shame and love – some well-directed tandem acting by Luke Davies – a challenging subject to cover – executed well.

Two new dates at the King’s Head Theatre as part of their World AIDS Day weekend 20th and 21st November.

8th November 2016
FILM REVIEW | Jack Reacher Never Go Back

JACK REACHER NEVER GO BACK – Tom Cruise is back as the loner ex-military guy in the second Reacher film adapted from the 18th book in the hugely successful literary series.

CREDIT: Paramount

Nutshell – Jack Reacher, the ultimate loner with skills, has to go on the run with a female military officer as they are both in the frame for some murders in a Government conspiracy. Jack finds out he has had a daughter all along, and then all hell breaks lose from Washington to New Orleans and the body count goes up.

Running Time – 118 minutes; Certificate – 12A

Tagline – ‘Never Give In, Never Give Up, Never Go Back.’

The Gay UK Factor – Patrick Heusinger is an out and out f***able stud muffin. This Florida-born hunk would not be kicked out of bed by any gay man anywhere in the World, but he does not show as much flesh here as he did in Oscar-winning Black Swan… shame.

Cast – Tom Cruise, Cobie Smulders who if we were straight would be our ideal woman, Aldis Hodge reprising from Jack Reacher One and Heusinger who has shot to poll position in our crowded wank bank.

Key Player – Lee Child who writes these books and delivers fully on the intrigue with regular doses of believable action and dialogue that would put Tarantino to shame. He even has a cameo here in the airport scene.

Budget – $60 Million which is cheap for a Cruise movie and a sequel at that, so it was in profit after just the first week and racing over the $100 million mark, so on with Jack Reacher 3. That is if Tom can be arsed to do it as he is not big on sequels this being the only one he has ever done outside of the Mission Impossibles.

Best Bit – 0.01 mins; So don’t be late as the opening unconnected set-up scene has such great dialogue it will settle you perfectly into a fun night at the flicks. You may have already seen this diner scene as it is one of the trailers put out for the movie.

Worst Bit – 1.38 mins; The big Afghanistan reveal is pretty predictable with some serious bloopers, but what is worse it is largely underwhelming. Next time let’s have a bigger back plot or story, please.

Little Secret – Cobie Smulders spent eight weeks learning several new martial arts so as she could and did do all her stunts in the film; she is one real feisty bitch. Cruise who always claims to do all his own stunts didn’t here, so that’s one for the girls. In the books, Reacher is 6.5″ of pure man muscle Tom Cruise is 5’7″ on a good day so nearer to a Hobbit than a US military tough guy and in his 50s too.

Further Viewing – Jack Reacher 1, The A-Team, Incredible Hulk, Dirty Harry, Law Abiding Citizen, Man on Fire, Deathwish’s 1 to 5 and basically anything featuring lone vigilantes a true Hollywood staple.

Any Good – This is so much better than the first film which we can hardly remember tbh, and there is a great prison escape scene which is pure Ethan Hunt . A lot is squeezed in here and there are a few scenes that are wasted we just wished the baddies’ story and plot could have been a bit bigger but it was made up for by casting such a f*ckable chief bad guy with hot henchmen too – we bet they get it on balls deep down the thug gym.

Rating – 66 %

8th November 2016
THEATRE REVIEW | Little Shop of Horrors – Sheffield Theatres and National Tour

★★★★| Life isn’t so great at the Mushnik Flower shop down on Skid Row. Mr Mushnik is on the verge of closing his shop, Audrey is dating a semi-sadist dentist and Seymour’s crush on Audrey is going nowhere. But with the arrival of a strange and interesting new plant, things start to change, especially when Seymour realises that the plant, Audrey II, has a taste for human blood. As things start to look up at the flower shop, Audrey II gets bigger and bigger, as does the list of missing people.
Photo Credit – Matt Martin Photography
Written by Howard Ashman and Alan Menken, the songwriting partnership behind some of the biggest Disney films, including The Little Mermaid and Beauty and the Beast, Little Shop of Horrors crams in the musical numbers, including “Somewhere That’s Green”, “Suddenly Seymour” and the title track “Little Shop of Horrors”. With a flavour of do-wop, funk and Motown running through it (even including a down on their luck version of The Supremes); and a bouncy and animated feel to the whole thing, this show is tremendous, kooky fun.

Sam Lupton excelled as Seymour, with a strong, natural vocal performance and a geeky clumsiness; as did Stephanie Clift as Audrey, bringing out the optimistic side of her character whilst maintain her vulnerability. The two leads gel together perfectly, especially with their show-stopping rendition of “Suddenly Seymour” and they are an absolute delight to watch. Romantic leads as good as these two are few and far between. Rounding off the main cast was Rhydian, who played the “slightly” manic dentist, Orin, with enough gusto to keep it his performance just on the right side of caricature, and with his strong operatic voice lending itself to his big number very well. However, the star of the show was Audrey II, the giant plant, who grows and grows and becomes more animated as the story progresses.

This touring production boasts a thoroughly detailed and well-designed set, with a cartoonish feel and an eye for detail. Add to that some clear, crisp and perfectly balanced audio, an effective lighting design and an all-round top notch cast and you have an impressive show which is highly polished.

Little Shop of Horrors has gained a cult following over the years and it is easy to see why. At the heart of it is a love story about a guy who will do anything to get the girl of his dreams. The songs are catchy and feel instantly familiar, the story is undemanding, and the script has plenty of moments to make you laugh.

With a healthy nod to 1950’s B-Movies and a musical mish-mash of styles with everything from Motown to Yiddish Folk Music thrown in there, Little Shop of Horrors is a cracking musical comedy which is pure escapist fun.

Little Shop of Horrors is currently on national tour and details can be found on their website at www.littleshopuktour.com. The show was reviewed at Sheffield Theatres, whose upcoming production of Everyone’s Talking About Jamie opens soon (https://www.sheffieldtheatres.co.uk/whats-on/everybodystalking-jamie)

8th November 2016
THEATRE REVIEW | Ballet Black Triple Bill – CAST Theatre and National Tour

★★★★ | Comprising of a trio of pieces, this mixed programme from Ballet Black combines abstract dance, drama, passion and narrative storytelling in a triple bill of short pieces which amounts to a stunning evening of dance.
Photo Credit – Bill Cooper
The piece opened with Cristaux, an abstract piece centring on the beauty of crystals and how mesmerising they can be. The piece was performed by Cira Robinson and Mthbuthuzeli November, who both carried precision, synchronicity and poise in their movement. Robinson’s costume was beautifully decorated with 1500 Swarovski crystals, which glistened in the light as the pair traversed the stage. Despite the quality of the choreography and performance, this was the weakest of the three pieces, primarily as a result of its soundtrack comprising of tinny bells ringing in a mish-mash of patterns. Despite sitting well with the theme of the piece, the composition held the piece back, which is unfortunate for something which otherwise had a lot for it.

The second piece, To Begin, Begin was choreographed by Christopher Marney, a former performer with Matthew Bourne’s New Adventures. Warming the stage with subtle lighting comprising of hues of blue and orange; and accompanied by gentile compositions of swathing strings and piano, this piece had a warm, dreamlike quality to it which felt comforting and familiar. The second abstract piece of the evening had a more contemporary slant to it, and knitted together both the traditional and modern movements beautifully; and kept building the momentum with the music and movement. To Begin, Begin was evocative, atmospheric and utterly absorbing.

Rounding off the programme was Storyville, a narrative driven piece choreographed by Christopher Hampson. Set in 1915, the ballet tells the tale of a young girl who finds herself working in an infamous dancehall in the red light district in New Orleans. Taken advantage of because of her youth and innocence, her spiral into self-destruction cannot be halted, even by a young sailor that she falls in love with. Brimming with passion and sadness, this piece had a clear narrative relayed by well-defined characters. Added into that was a collection of music which was evocative of the time period of the setting and a subtle undertone of fears of voodoo and black magic, reflective of the culture of New Orleans; which both added gravitas to the piece. Storyville rounded off the evening perfectly.

Having never seen this company before, for me, the triple bill was a fascinating insight into the company and an impressive taster of what Ballet Black has to offer, leaving me keen to see more from them. With a consistency of quality, precision and emotion running through the three pieces and with their impressive choreography and presentation, Ballet Black is thoroughly recommended.

Ballet Black is currently on tour across the UK. Details of the company can be found at www.balletblack.co.uk . Ballet Black were seen at CAST Theatre, Doncaster, who have a variety of art, dance, performance and shows, from West End shows to world premieres, in their upcoming season. Details can be found at www.castindoncaster.com

7th November 2016