THEGAYUK

Category: Review

  • THEATRE REVIEW | Aladdin

    ★★★★ | Aladdin

    Disney has done it again. They’ve produced another musical based on one of their very popular animated movies – this time it’s Aladdin.

    Already playing on Broadway where it opened in 2014 to very good reviews, Aladdin takes the colorful animated movie and successfully transfers it to the stage. It’s a production so colourful, so full of life, with quite a few memorable scenes, that it’s likely this show will follow in the footsteps of The Lion King and Beauty and the Beast in entertaining lots of children (and adults) for years to come.

    Of course the Aladdin film is most famous for Robin Williams as the voice of the Genie. It was a natural fit; his huge character persona so in line with the genie’s. In the stage version, the genie is just as memorable (played by a campy and very funny Trevor Dion Nicholas), who practically steals every scene he’s in. He can grant three wishes in this love story between Aladdin (Dean John-Wilson) and the Princess Jasmine (Jade Ewen). Aladdin is poor, and hangs out with a trio of losers and thugs in the town of Agrabah. Meanwhile Princess Jasmine is very unwilling to enter into an arranged marriage by her father the Sultan (Irvine Iqbal). But lurking in the background is the Sultan’s Prime Minister Jafar (Don Gallagher) – his right hand man – who wants to overthrow the Sultan and will do whatever it takes to do so. This entails locating a dangerous cave where there’s a special lamp that grants wishes.

    Back in town, Princess Jasmine dresses as a commoner and walks around town and meets Aladdin. They’re smitten with each other but the romance hits a rocky start when Aladdin gets arrested for being in the palace. He’s saved by Jafar, who enlists him to go into the cave to retrieve the lamp. But it’s Aladdin who, accidentally, gets to own the lamp, and like in the film, he has three wishes to make, wishes that will not only change his life but the lives of his friends and Princess Jasmine as well.

    Aladdin is not a perfect musical. There’s not very many memorable musical numbers (except the well-known ‘Friend Like Me’ and ‘A Whole New World,’ which plays out on a magic carpet flying above the stage with the stars twinkling all around. It’s a magical and mesmerizing scene).

    John-Wilson is good as Aladdin, but he doesn’t wow us. Gallagher as the evil Prime Minister is especially good. He’s evil, cunning and very clever, with the aide of his assistant Iago (Peter Howe).

    Former UK Eurovision contestant Ewen, as Princess Jasmine, is very good and proves that she can sing AND act. However it’s Dion Nicholas as the genie who you will cheer and applaud. But it’s the sets, wow the sets, that are the real star of the show.

    Moroccan deserts, palaces, villages, sunsets, and perfect costumes are all worth the ticket price. And while Aladdin resurrects the story and music written for the 1992 movie by Alan Menken and lyrics by Tim Rice and the late Howard Ashman, it’s no Lion King but it sure comes close.

    Alladin plays at the Prince Edward Theatre (London)

     

  • FILM REVIEW | Those People

    FILM REVIEW | Those People

    ★★★★ | Those People

    Those People

    Spoiled rich kids on Manhattan’s Upper East side have lots to deal with, including lack of parental guidance, and secret crushes on each other in the gay romance film Those People.

    But it’s Charlie’s story. Played by Jonathan Gordon, Charlie, a painter, is one of five people in his very very tight knit group of friends, which includes two women and two other guys. One of the guys – Sebastian (Jason Ralph) – is who the group revolves around. Every emotion, laugh, anger that is emitted from Charlie has effects on the rest of the group. He’s at the center of everyone’s attention because his hedge fund father has just been sent to prison for swindling money, and it’s up to the gang to rally around Sebastian to make sure he’s protected from the media spotlight (and to perhaps help spend some of his money). And Charlie is at Sebastian’s every beck and call 24 hour seven days a week. When Sebastian asks Charlie to move in with him in his big empty house (poor him!), Charlie does so right away. You see, Charlie, for the past 15 years, has been carrying a torch for Sebastian, and Sebastian has known this but has never let on that he knows. Sebastian gets a kick out of it, without reciprocating back. But when Charlie meets successful pianist Tim (Haaz Sleiman) and slowly starts to fall in love with him is when Sebastian realizes that he might be losing Charlie to Tim. It gets all the more complicated after Sebastian’s father kills himself in prison, and Tim announces that he wants to take Charlie with him to San Francisco where he’s offered a great job. It’s a move that will make Charlie chose between his love for Tim or his loyalty and friendship and more for Sebastian.

    Those People shows us what a group of young, rich, and goodlooking upper east side kids get up to. It’s a life of parties, drama, drinking and secret crushes. It’s a sophisticated, beautifully debut film brought to us by Director, writer and Producer Joey Kuhn. It’s a world he seems to know (he was born and raised in NYC), as he captures the lives of these upper crust young adults very well. And the cast are all respectable and fine. It’s a classy movie without being too snobby.

    AWARD WINNER
    Audience Award, Best Narrative Feature, NewFest, New York LGBT Film Festival
    Best Actor, Jonathan Gordon, Atlanta Out on Film
    Audience Award – Best U.S First Feature, Outfest Film Festival
    Jury Award, Best Feature Film, Kansas City LGBT Film Festival

    Those People is now available on DVD/VOD

  • THEATRE REVIEW | Karugula

    ★★★ | Karugula

    What is “Karugula” and what is this play about? I’m not sure that you’ll leave this play with a definitive answer and you may well not even care but it’s an epic journey in this dark imagining of a dystopian world. Prom kings and queens are ritually shot dead, strange cults rule and a twisted version of the Kennedy assassination is a legend that has influenced society as the grassy knoll is reverentially mentioned. This is a sprawling and pleasantly confusing play with non-linear storytelling and a cast of seventy characters played by nine actors in a constantly changing set.

    Philip Ridley has been knocking audiences sideways and winning multiple awards for his ‘in-yer-face’ plays since The Pitchfork Disney in 1991. He’s elicited wide ranging critical responses and there are fables of fainting audience members and people stalking out of theatres in disgust. However, to look at his plays as ‘shock’ pieces would be to misunderstand and cheapen his work. His worlds are violent and terrifying but his skill is in integrating horror with the everyday world that we know. His work draws you in politely and then grabs you with an icy hand and refuses to let go. He’s also witty and wise, with a wry sense of the state of the world. Karagula is no exception. Ridley fans have learnt to never know what to expect from each new play. Here he’s crafted a fable reflecting modern society and the world’s political tensions but has set it the framework of an apocalyptic science fiction story. Much like Alistair McDowell’s ‘X’ and Anne Washburn’s ‘Mr Burns’ that both recently divided critical opinion; this is an unusual theatrical foray into an infrequently explored genre.

    Cheerleaders chant about assassinations, 1950’s housewives brag of murders in pink kitchens and milkshake parlours aren’t places you’d really want to be. Figures in white clothing inhabit starkly lit interrogation boxes and talk of concentration camps whilst Mad Max style renegades pick over ruins. It’s tongue in cheek and thankfully self-mocking throughout. There are insane touches reminiscent of a 1970’s Doctor Who episode intercut with David Lynch style eeriness. The science fiction references are frequent. Extremism, jingoism and patriotism abound. It’s a mad, mad world but one not far removed from our own. The dialogue is perplexing, odd and hilarious. Ridley’s hallmark style of slowly imbuing the innocuous and banal with sinister overtones works well here.

    The play is overlong at over three hours and is by no means perfect with uneven tones and scenes that feel extraneous. Emotion is rarely poignant or moving (with the exception of a beautiful scene surrounding a mother who’s daughter was taken from her). It’s housed in a disused ambulance station in Tottenham Hale. The production is shaky at times and Shawn Soh’s constantly changing set and the script’s moving focuses of action although impressive, are too distracting. Regardless of any flaws, the acting is skilled and Jethro Cooke’s throbbing ambient soundtrack is a suitable accompaniment.

    Overall it’s an intriguing play but feels less accessible and immediately beguiling than some of Ridley’s prior work.

    Karugula plays at the Styx Theatre until the 9th of July 2016

    Follow Chris Bridges on Twitter

  • HOTEL REVIEW | Eccleston Square Hotel

    ★★★★ | Eccleston Square Hotel

    Eccleston Square Hotel

    I visited the Eccleston Square Hotel previously to review their restaurant, which I awarded five stars. Classed as London’s most hi-tech hotel, before arrival you’re encouraged to download their app from which you can request various items and drinks to be waiting in your room.

    Further to the app, your room comes with an Ipad 2. Again, you control everything using the iPad; from wake up call, free 3D movie requests (for your 46inch), to room service- and of course you still have the option to pick up the phone and speak with someone.

    Eccleston Square Hotel

    The bed was exquisitely comfy, and it wants to be with a price tag of 12k (literally sleeping on someone’s salary). The only thing it can’t do is make you climax, unless you’re super sensitive and switch that massage mode on full whack- it really goes for it!

    The bathrooms are kitted out palatially; a “rainfall” shower fit for four (channel Pamela Anderson in Barbwire when using the shower seat), a TV in the mirror, smart glass technology to frost the glass for privacy, and a lovely selection of L’occitane products.

    Upon request you can get the key for the Square’s shared private garden across the road, so we took our Cosmos and went for an evening walk around the gardens. Very pretty and peaceful.

    Due to birthday celebrations we took full advantage of the 24hr room service with a fair few bottles of fizz and post-prosecco paninis being brought to the room. So much so the next day we actually had to return a bottle of bubbles to the front desk as we had over ordered. I partly blame the iPad for making the process so easy & streamline.

    Breakfast was slightly unfortunate with pancakes cold and bacon hot for my friend, and everything was flavoursome in my full English, but the beans were beastly!

    Eccleston Square Hotel

    The experience altogether is a clever meeting of automated / hi-tech, and delivery with a smile from the kind and personable team that bring the real touch to your stay.

    Hi-tech, high spec , a stay you won’t forget.

  • THEATRE REVIEW: This Much (or An Act of Violence Towards the Institution of Marriage)

    “A wedding is just paying lots of money so that your friends will treat you like a famous person for a day” ★★★

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  • Theatre Review | Into The Woods – West Yorkshire Playhouse

    ★★★★ | Into The Woods (National Tour)

    A baker and his wife long for a child, but a curse placed on their family many years ago prevent them from having their hearts desire.  But when the Witch who cursed them offers to lift her spell over the family in exchange for them bringing her four specific items; the two of them set out into the woods on a quest which interweaves four very familiar stories.

    Photo Credit : Manuel Harlan

     

     

     

     

     

    Stephen Sondheim’s darkly comic fairy tale mash up is a curious beast. The first act is a charming, comical and whimsical look at the intertwining tales of four familiar stories, Cinderella, Jack and the Beanstalk, Rapunzel and Little Red Riding Hood. The familiarity of the stories and the light comic moments wash over you with a feeling of warm nostalgia, bringing the first act to a close with a happy ending, as all good musicals (and indeed, as all good fairy tales) should. The second act, however, takes a much darker tone, reflected in the subject matter, the musical numbers and the presentation, as Sondheim bleakly examines the impact adults have on their children and how death affects us all. Jack is raised by a single mother, Rapunzel and the witch have a dysfunctional mother / daughter relationship, Cinderella pines for her dead mother and the Baker has his own issues with his absent father. Sondheim certainly pulls no punches as to how parents influence their offspring.

    Performance wise, the co-production between West Yorkshire Playhouse and Opera North is a visual and aural treat. Colin Richmond’s set design starts as a faithful recreation of a primary school classroom, which transforms with remarkable versatility as the tale unfolds, and the staging of the play within a school setting reinforces the themes of parental influence in the second act. The forest of playground swings added eerie gravitas to the set which was enhanced by the digital projections at the rear of the stage. Puppetry further laid on the childhood charm and there is a ‘giant’ character as the second act opens which is enough to induce both laughter and reawaken childhood fears simultaneously.

    The cast sang remarkably, as one would expect, and it was a genuine pleasure to see a musical where absolutely every cast member could sing beautifully; providing expression, emotion and perfect diction in every line.  Claire Pascoe excelled as The Witch both in acting and singing, whilst Ross McInroy had velvet voice which I could have happily listened to all evening.

    Sondheim can often be quite heavy going, and the second act certainly felt very dark (and perhaps just a tad long), as it became increasingly bleak in its portrayal of what happens “after happily ever after”. But despite this, you can’t help but leave the theatre feeling that you have been on a journey, as the show itself presents as somewhat of a metaphor for the woods themselves – the more you journey into it, the darker it becomes.

    Into The Woods is a co-production between Opera North (www.operanorth.co.uk) and West Yorkshire Playhouse (www.wyp.org.uk) and is playing until 25th June 2016. For details or to book tickets visit their websites or call the theatre on 0113 213 7700

     

  • FILM REVIEW | Holding The Man

    FILM REVIEW | Holding The Man

    ★★★★★ | Holding The Man

    A moving and very emotional film about a gay couple during the height of the AIDS crises is beautifully told in the new film Holding the Man.

    CREDIT: PeccaPics
    CREDIT: PeccaPics

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  • THEATRE REVIEW | Chicago – Lyceum Theatre & National Tour

    THEATRE REVIEW | Chicago – Lyceum Theatre & National Tour

    Set in the prohibition era, Chicago tells the story of Roxie Hart, who shoots her lover and finds herself of death row; alongside Vaudeville star Velma Kelly. Enter slick lawyer and media manipulator, Billy Flynn, who takes on Roxie’s case and simultaneously pushes Velma out of the headlines. As the two women catfight for the spotlight, the dirty tricks and rivalry escalate as each try to ensure that they make the front page. ★★★★

    Photo Credit - Catherine Ashmore
    Photo Credit – Catherine Ashore

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  • THEATRE REVIEW | Titanic

    The 1997 Broadway musical of “Titanic” may have shared an inaugural year with the showy and special effect laden film by James Cameron but thankfully there’s not so much as a hint of Celine Dion. Saying that it does seem to go on and on in places, much like her poor heart. ★★★

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  • BOOK REVIEW: Our Young Man

    BOOK REVIEW: Our Young Man

    Edmund White has been the grand chronicler of the lives of gay men since the early 1970s. His seminal work ‘A Boy’s Own Story’ is a literary classic that is essential reading for every gay man or indeed everyone who can turn a page. ★★★★

    Our Young Man - Book

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  • THEATRE REVIEW | Stella

    How difficult was it to be a gay man with a penchant for dressing up in drag in Victorian England? The answers provided by ‘Stella” might surprise you. ★★★★

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