Tag: London News

All the latest from London, the capital of the UK, home to the UK’s largest gay community.

THEATRE REVIEW | How to Succeed in Business Without Really Trying, Wilton’s Music Hall, London

★★★★ | How to Succeed in Business Without Really Trying

Wilton’s Music Hall in the East End has another hit on its hands.

How to Succeed in Business Without Really Trying is their fun and superb new show now playing at the historic venue. And it’s got the right cast to succeed without really trying to be a hit!

Mark Pickering plays J. Pierrepont Finch – an ex-window washer who cleverly climbs the corporate ladder by taking tips from a book called ‘How to Succeed in Business Without Really Trying’ (obvs). His first step is to get a job, so he starts in the mail room at World Wide Wicket Company, working with Bud Frump (a very good Daniel Graham) – the nephew of CEO JB Biggley (Andrew C. Wadsworth). Company secretary Rosemary Pilkington (Hannah Grover) takes a liking to Finch, but Finch has more climbing the ladder to do, and soon enough he’s a junior executive. In the blink of an eye, he’s promoted to run the advertising department. And eventually, Finch will be after Biggley’s job, who has employed in the company his mistress Hedy La Rue (an excellent Lizzii Hills). She’s stacked but not too bright, and unfortunately, she gets enlisted in Finch’s new advertising campaign where she gives away the clues to a company competition, which could possibly lead to hers, Finch’s, and the company’s downfall. It’s a story told in laughs and colourful songs.

The cast is perfect and the staging particularly brilliant. Especially good are Pilkington (great voice and timing) Hills (great comedic wit), Graham (perfect for the role as the spoiled nephew who doesn’t quite get what he thinks he deserves – with great facial expressions), and Matthew Whitby as the HR Director. Excellent direction by Benji Sperring brings this production, which is based on the 1952 book and the 1961 Broadway musical (and which has not been seen in London since 1963 when it played at the Shaftsbury Theatre). It’s pretty much as relevant today as it was when it was originally produced. And the very last song – “Company Way” – where Maisey Bawden finally comes into her own and belts her heart out, leaves the audience wanting more.

How to Succeed in Business Without Really Trying plays at the Wilton’s Music Hall, London until April 22.

15th April 2017
REVIEW: Audra McDonald at the Leicester Square Theatre

★★★★★ | Audra McDonald

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

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

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

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

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

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

13th April 2017
Homophobic crime continues to rise in the UK’s capital

The homophobic crime rate has continued to rise with nearly 6 offences per day on our capital’s streets.

There are, on average around 6 anti-LGBT offences being recorded every day on London’s streets, a 9.63% increase year on year. In total, 2037 crimes were reported for the year 2016/17 compared to 1861 crimes in 2015 /16 and 1559 in 2014/15.

However, the Metropolitan Police service was keen to point out that the crime rates were lower than five years ago and these current statistics are set against the gruelling austerity measures and “significant reductions in resources” set out by this current government.

Assistant Commissioner Martin Hewitt, responsible for Territorial Policing, said,

“London is one of the safest global cities in the world. There are few others with such low rates of serious crime, such as murder and gun crime.

“Similar to the rest of England and Wales, crime rates in London are rising, but many of these are still at a much lower level than five years ago and are against the backdrop of significant reductions in resources.

“The crime picture has evolved and so must we in the way we police, recruit and operate. We have an ambitious transformation programme which is already underway and will deliver a 21st century police service for London, strengthening local policing by bringing specialist officers closer to communities.

“We are committed to increasing the amount of neighbourhood officers dedicated to particular areas to engage with the public and work with them to keep them safe; by the end of this year there will be an extra dedicated officer on every ward.

12th April 2017
THEATRE REVIEW | 46 Beacon, Trafalgar Studios, London

★★★★ | 46 Beacon

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

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

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

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

46 Beacon plays at Trafalgar Studios until 29th April 2017

12th April 2017
THEATRE REVIEW | Miss Nightingale, The Vaults, London

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

CREDIT: Robert Workman

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

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

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

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

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

12th April 2017
THEATRE REVIEW | 42nd Street, London

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

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

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

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

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

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

9th April 2017
THEATRE REVIEW | This Joint Is Jumpin’

★★★★ | This Joint Is Jumpin’

CREDIT: Darren Bell

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

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

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

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

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

8th April 2017
RESTAURANT REVIEW | Smith & Wollensky, London

★★★★ | Smith & Wollensky, London

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

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

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

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

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

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

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

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

Tel: 020 7321 6007

Home

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

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

6th April 2017
REVIEW | The Luggage Room at the Grosvenor Square Hotel

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Low Tea £48

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

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

6th April 2017
THIS IS HORSE SH*T, LGBT activists disrupt plush housing awards

The Sexual Avengers strike again. This time a plush, £3000 per table, Property awards ceremony in central London.

LGBT+ activists dumped manure and cockroaches in front of a swanky London hotel yesterday. It was hosting the Annual Property Awards, an event which costs up to £3030 per table and hosts the who’s who of the property and housing industry. The campaigners say that the awards celebrate, “an industry which leaves queer youth homeless on the streets of London”.

The pressure group, the Sexual Avengers, were campaigning for more “genuinely affordable homes”, the scrapping of ‘right to buy’ which they say breaks up the social housing system, and the provision of LGBT+ homeless support service.

Guests arriving at the Grosvenor House hotel, for the £330 per ticket event, were met with manure and cockroaches, dumped by the activists on the doorstep of the building, forcing hotel staff to clean up the mess. The guests were ushered into the event via the backdoor.

Sexual Avenger Stacey Jones said,

“My partner died of cancer last April, and they wanted to kick me out in May. They couldn’t understand how I could be in a relationship with a woman when I had a child. I’d just lost my partner and had to sit there and justify my sexuality. Why did I deserve the house where we lived, where I cared for her and where she died?

“Property developers need to build for need not greed. I’ve been homeless twice, and I’d be on the streets now if it wasn’t for Stonewall. The number of empty properties and the number of people on the streets –it’s madness.”

According to the latest stats, one in four people currently living on the streets identifies as LGBT+. Speaking in 2016, Tim Sigsworth MBE, Chief Executive of the Albert Kennedy Trust, which said,

“Homeless LGBT young people are one of the most disenfranchised and marginalised groups within the UK. 4,800 young LGBT people in the UK are currently homeless or living in hostile environments – that’s 24% of the youth homeless population in this country.”

Sexual Avenger Dina Fox said,

“I am a mentally ill, disabled transgender woman in my early 20s. I am nominally a student but I’m currently taking a break from my studies due to my ongoing mental health problems.

I normally only rent in London during the academic year and return home to the countryside for the summer. However, I have been depending on social and mental support from LGBT charities and services based in central London and could not expect any such support back home. In addition, the community where I grew up is far more socially conservative than London and it would be very unlikely that I’d be able to transition or live openly there.

I am trying to secure new housing as I will not be able to afford my current rent for long, since my student finance money has been stopped with the interruption of my studies. I am receiving help from Stonewall Housing to apply for supported housing for vulnerable people and I have been told I will be able to pay for this with housing benefit. While I am currently optimistic, I am keenly aware of how fragile my present situation is, and also of how a person in my position who might have additional barriers in accessing these organisations would really struggle.

If I fail to get housing in the next couple of months I face a choice of being homeless in an environment where I receive appropriate support and healthcare, or moving back home where I would likely face a serious further deterioration of my condition. Until I experienced it for myself I had never understood how easily a person can slip through what I imagined to be our social safety net.”

5th April 2017
THEATRE | Adam & Eve and Steve

What is Adam & Eve and Steve about?

Adam & Eve… and Steve is a brand new five-star musical farce set in a newly created paradise, the Garden of Eden. The basis of every love story, every romantic ballad, and every sentimental poem ever written is man meets woman, they disagree, they resolve their differences, they fall in love. But…..

Adam & Eve… and Steve is the story of the first couple up to a point…everything in the Garden is going according to God’s plan until the pesky Beelzebub adds the hunky Steve into the mix. Fun, mischief and mayhem ensues as Adam & Eve compete for Steve’s affections and God tries to impose some order on the chaotic love tangle that ensues.

Adam & Eve…and Steve won Best New Musical at the Hollywood Fringe 2015 and comes to London after a highly acclaimed run at the Edinburgh Fringe 2016

Dale Adams (Steve) trained at the Arts Ed, London. His stage appearances include Prince Charming in Cinderella and Frankie Valli in Oh What a Night! He has also appeared at Glyndebourne and was in the ensemble for the Olivier Awards.

Michael Christopher (God) played Sir Thomas Moore in Robert Bolt’s A Man For All Seasons and Monk Tetzel in John Osborne’s Luther.

Hayley Hampson (Eve) trained at Liverpool Institute for Performing Arts and her credits include: Blue Girl in Shout! The Mod Musical; Faryl in Golden Oldies; Daisy in Pharaoh Cross the Mersey; and Sophie in Departure Lounge.

Stephen McGlynn (Beelzebub) has appeared in the West End in Mary Poppins, Mamma Mia (original cast), Les Miserables, Witches of Eastwick, and State Fair. He has also appeared in Romeo and Juliet, It’s A Wonderful Life, Hairspray, Macbeth, Beauty and the Beast and Evita.

Joseph Robinson (Adam) trained at The Guildford School of Acting and this is his professional debut.

Adam and Eve… and Steve is directed and choreographed by Francesca Goodridge. Francesca Trained at the Liverpool Institute of Performing Arts. She has worked as an actor, singer and director. Her directing credits include Shout! The Mod Musical at LIPA, Edinburgh Festival and Liverpool’s Royal Court Theatre.

The book and lyrics are by Chandler Warren, a noted US entertainment lawyer, producer and writer. Warren has written extensively for television and theatre, as well as penning numerous books and articles. He has also produced movies, for television and theatre productions, both on and off Broadway.

The original music is composed by Wayne Moore, whose previous original works include; There’s No Place Like Hollywood (Stella Adler Theatre), Freeway Dreams (The Gardenia), I Know I Came In Here For Something and The Real Desperate Housewives (Taconic Playhouse, New York).

Musical direction is by Dean Austin, whose extensive credits include Allegro at Southwark Playhouse, Zorro at the Garrick, as well as TV appearances on Jonathan Ross, Royal Variety Show and Paul O’Grady. Set and Costume designer is Roberta McKeown, whose credits include Shout! The Mod Musical. Roberta was Wardrobe Assistant for the UK tour of Priscilla, Queen of the Desert, and the UK tour of Jeeves and Wooster and for Disney’s The Lion King.

Lighting is by Richard Williamson, production manager for C Venues at the Edinburgh Festival; his many credits include Easter Rising at the Jermyn, Richard lll at Stratford, and Play Size at Young Vic. Sound Design is by Django Holder who graduated from The Liverpool Institute for Performing Arts in 2016 with a BA (Hons) in Sound Technology. This is his professional debut.

The King’s Head Theatre is London’s first and foremost pub theatre and is led by Artistic Director, Adam Spreadbury-Maher. New writing, revivals, musicals, opera, cabaret and queer work sit side by side in an unashamedly eclectic programme of work. Thanks to an in-house agreement with Equity, we’re leading the way when it comes to ethical employment on the fringe whilst our resident trainee director’s scheme continues to provide comprehensive, vocational training to the rising stars of tomorrow. With high profile co-productions, national touring and transfers to and from the biggest arts festivals in the world, we’re certainly not slowing down!

What theatre is Adam & Eve and Steve on?

Venue: King’s Head Theatre, 115 Upper Street, London, N1 1QN

What dates does Adam & Eve and Steve run?

Tuesday 21^st March – Saturday 29^th April 2017

Times: Tuesday – Friday @ 8.40pm: Saturday @ 3pm & 8.40pm: Sunday @ 5pm

2nd April 2017