THEGAYUK

Tag: Four Star Play Review

The latest Four Star Play Review from THEGAYUK.

  • THEATRE REVIEW | Loot, Park Theatre, London

    ★★★★ | Loot

    THEATRE REVIEW | Loot, Park Theatre, London

    The late playwright Joe Orton wrote Loot more than 50 years ago, and it is now being revived at London’s Park Theatre in Finsbury Park.

    Loot is a farcical comedy that’s hilarious but it’s upstaged a bit by the life of Orton. He was only 34 when, at the peak of his fame, he was murdered by his boyfriend Kenneth Halliwell in their flat in Islington exactly 50 years ago because Halliwell was very jealous of Orton’s success. Orton had just had real success in the West End with both Loot and Entertaining Mr Sloane, and was even celebrating being notorious for when he and Halliwell served six months in jail for defacing books from the Islington public library.

    But back to Loot,  it’s a laugh a minute play about a funeral with a corpse which unfortunately does not get any peace in the afterlife. There’s also a bank robbery as well as a cunning nurse who will do anything to get her hands on as much money as she can.

    Mrs McLeavy (Anah Ruddin) has just died and her husband McLeavy (Ian Redford) and son Hal (Sam Frenchum) are in mourning at a funeral home. Nurse Fay (Sinéam Matthews) was hired to take care of Mrs McLeavy, but she’s got more up her sleeve than cotton pads and plasters. But Hal has just robbed a bank, in cahoots (and then some) with undertaker Dennis (Calvin Demba), and the money is in the same room as Mrs McLeavy. But self-proclaimed water inspector Truscott (Christopher Fulford) seems to be getting very interested in everyone’s business, starts to ask lots and lots of questions, while Hal and Dennis run amok trying to figure out where to stash the stolen money – and this is the beauty of Loot. Poor Mrs McLeavy’s corpse keeps on getting switched with the money and eventually her body is a prop where McLeavy and Truscott bewilderingly take no notice. And eventually Fay wants a piece of the action or else she will tell the cops. The corpse winds up in literally many hilarious places and positions which will keep you laughing for the duration of the show’s 90 plus minutes.

    Kudos go to Ruddin for playing the corpse. She, along with the hilarious script, are the real stars of the show. Matthews as nurse Fay and Redford as McLeavy are also brilliant but it’s a testament to Orton who had bucketfuls of talent taken away from him at such a young age, one can only imagine what else he would’ve accomplished. And we’re lucky we are no longer at the behest of Lord Chamberlain who heavily censored this show when it was originally shown, and when some of the audiences walked out because of the way the corpse is treated in the show. And we finally get to see Loot the way Orton originally intended it to be watched, in full.

    Loot play at the Park Theatre in Finsbury Park until 24th September

  • THEATRE REVIEW | Between The Sheets, Underbelly, London

    ★★★★ | Between The Sheets

    Between The Sheets, Underbelly, London

    London’s most famous burlesque entertainer – Miss Polly Rae – is hosting a new show at London’s Underbelly Festival on the Southbank. It’s Between the Sheets, and between you and me it’s fabulous!

    Polly Rae, along with a cavalcade of other naughty acts, perform a variety of skits while scantily clad in a show that’s fun, and dare we say it, titillating. There’s so much on offer in the show for both men and women as Rae’s performers delight the late night audiences with the ability to do a variety of stunts while simultaneously taking their clothes off.

    Come and watch the amazing duo of Duo Visage (Beau Sargent and Sam Smith) combine their spectacular artistry, along with their perfectly lithe bodies, as they do spectacular stunts on the stage in a venue where every seat in the house is good. Then there is Tom Cunningham and Myles Brown, two very good-looking men who take off all of their clothes in one very cute skit while in another scene they most memorably perform a romantic and sensual dance with each other that’s both erotic and emotional and very memorable. We are then treated to the very funny Lilly Snatchdragon who provides comic relief in between the flesh-baring performers. But it’s Kitty Kitty Bang Bang who impresses us the most with her fire eating skills along with her splashing around in a very large cocktail glass semi-filled with water. Did I also mention that she’s scantily clad while doing this? And the gorgeous Beau Rocks rounds out the cast of Between the Sheets, and rounds out just simply describes her and her amazing body and personality.

    Playing for a limited time only, Between the Sheets will literally thrill you out of your seat with a spectacular show which takes place in one of London’s best venues. Kudos to Miss Polly Rae for bringing this sort of burlesque show back to London in a visually stunning and hilarious romp. It’s a night out that you will truly not forget.

    There are three more shows left of Between the Sheets – all on Fridays: August 25th, September 8th, and September 29th.

     

  • THEATRE REVIEW | The Marriage of Kim K., Areola Theatre, London

    ★★★★ | The Marriage of Kim K.

    For a different night at the theatre, go see “The Marriage of Kim K.”

    Yes, you read that right. The famous opera “The Marriage of Figaro” has been modernised for the 21st century in a show now playing at the Arcola Theatre – it’s a show that reflects our appetite for all things reality. And there is no bigger reality star than Kim Kardashian. But the “Marriage of Kim K.” goes a bit further, it specifically looks at Kim K.’s 72-day marriage to American basketball star Kris Humphries in 2011. And this segment of their marriage is interspliced with a modern day couple watching television and a third couple actual performing scenes from “The Marriage of Figaro” opera. It’s a bit unusual, yes, but it works.

    For 90 minutes, all three couples have their moment. Kris (James Edge who plays the tall and dumb athlete very well) can only think of one thing – sex – with Kim K. (Yasemin Mireille – who’s got a butt to rival Kim K.s’). And newly-qualified lawyer and Keeping Up With The Kardiashian’s-watching fan Amelia (Amelia Gabriel – very good) and her yet to be successful songwriting husband Stephen (Stephen Hyde – good as well), and by the way who are a couple in real life, are all lovey dovey then bicker about her KUWTK addiction. And Emily Burnett (excellent) plays Countess Almaviva while Nathan Bellis (good) is Count Almaviva. The differences in their background – he comes from aristocracy while she has a less privileged background – causes rifts and tension in their marriage. And the finale of this show takes off in a crescendo-exploding battle of the singing divas and divos as they all fight to save their marriages (except Kim K. because before the end of her marriage to Kris she had already met Kanye West). And we all know that it took Kim and Kris two years to actual get their divorce final because Kim wanted an annulment while Kris wanted an actual divorce.

    Hyde, who wrote the music, and Leo Mercer, story and lyrics, have created a unique and timely piece of theatre that is innovative and timely. It’s very unique and is much more interesting that anything the Kardashians get up to themselves.

    The Marriage of Kim K. is part of Arcola Theatre’s Grimborn season, where bold new versions of classic operas, rarely-seen and long forgotten works, are being presented until September 2, 2017

    Get more information about Arcola Theatre

     

  • THEATRE REVIEW | The Kite Runner, Playhouse Theatre, London

     

    ★★★★| The Kite Runner

    The Kite Runner, Khaled Hosseini’s best-selling 2003 novel, which was turned into an acclaimed 2007 movie and recently won rave reviews at London’s Wyndham’s Theatre, is back again and now playing at The Playhouse Theatre. Its story resonated so much with theatregoers, and after sellout crowds in its original run, it’s been granted to fly again in a limited 8-week run.

    The Kite Runner is the story of true friendship, and also true betrayal. David Ahmad is Amir, who lives with his wealthy father Baba (Emilio Doorgasingh) in Kabul, Afghanistan. They employ Baba’s long-time servant Ali (Ezra Faroque Khan), along with his son Hassan (Andrei Costin). Both Amir and Hassan lost their mothers, so Amir and Hassan have become close, even though they both come from different classes of society.

    They’ve formed a bond with each other and especially love to fly kites together. Hassan ends up becoming Amir’s kite runner – he basically retrieves the kite after knowing where it’s going to fall. The young men are practically inseparable, especially when the local thug Assef (Bhavin Bhatt) threatens them perhaps because he is jealous of their close friendship. But one day, after a kite competition, Hassan is captured by Assef, who proceeds to taunt and then rape him.

    But it’s Amir who witnesses the whole thing – he doesn’t even step in to help, and it’s a guilt that he carries around with him, enough so that he attempts to have his father get rid of Hassan and Amir. This is when the story goes in a different direction and takes us on a journey to America where Amir and Baba eventually find themselves after leaving war-torn Afghanistan. Amir eventually settles down in San Francisco with a wife, but he’s torn with guilt over what he did or did not do for Hassan. And this guilt has him trace his steps back to Afghanistan in the hopes of finding Hassan and to rekindle the relationship that they had when they were boys. But there’s more in store for him than what he bargains for.

    The Kite Runner doesn’t need any sort of magic wand or razzle dazzle to tell its story – it’s the story in itself that is strong enough to hold the audience’s attention. We see the beautiful friendship between Hassan and Amir that is eventually shattered and when the story takes it to another direction we feel Amir’s pain and heartbreak and guilt and we hope the characters will eventually find happiness, though deep down we know that’s not going to be the case. Matthew Spangler has successfully adapted the book for the stage (again) while Director Giles Croft works with an excellent acting ensemble with a very minimalist set as he excellently guides his actors to portray the characters very beautifully and emotionally.

    THE KITE RUNNER is playing at the Playhouse Theatre until 26th August 2017

     

  • THEATRE REVIEW | Kings Cross [Remix], Camden People’s Theatre, London

    ★★★★ | Kings Cross [Remix], Camden People’s Theatre, London

    Take a journey to 1980’s London, specifically the King’s Cross area, through the storytelling of Tom Marshman, in the new show Kings Cross [Remix]. The one-man show, at the Camden People’s Theatre, is a tour de force performance by Marshman, too young to remember the stories he’s telling, yet he tells them so vividly, with such authority and believability that he makes us actually believe he was there.

    Through the use of video and audio tape recordings of the people who were actually around during those times, Marshman weaves together these stories in a 60-minute show to great effect. He talks about the long gone disco Bagely’s nightclub, the denizens of King Cross including the hookers and the club kids, a unique story about the late and great Leigh Bowery, and grainy video footage of the once popular gay bar and club The Bell (this footage can also be found on Youtube). But Marshman also transports us to this decade when lots of our fellow friends were dying of AIDS, and one audio clip of a man who is a patient representative at a local clinic remembers the days when gay men were diagnosed with GRID (Gay Related Immune Deficiency) and were in their last days as there no hope for them. Marshman also chillingly brings up the arrival of patient zero – the man who introduced HIV into England. This and more is all told with the songs of Donna Summers’ “Last Dance” and lots of other disco classics as the soundtrack, and footage of Jimmy Somerville in his early days who can now be found from time to time drinking at his local bar Central Station. Marshman’s show celebrates a time when the scene in Kings Cross was more fun but also a bit dangerous and not posh as it is now. I

    It’s a great show and Marshman does a very good job in telling these stories.

     

    Kings Cross (Remix) plays at Camden’s People’s Theatre until 26th May.

  • THEATRE REVIEW | Salomé, National Theatre, London

    THEATRE REVIEW | Salomé, National Theatre, London

    ★★★★| Salomé, National Theatre, London

    Johan Persson

    It was always going to be hard to produce a version of Salomé on the stage. It’s a story that’s mythical, biblical, violent, and perhaps a bit confusing. A new version of the show is now playing at The National Theatre, and it’s executed beautifully.

    Staged by Director Yael Farber, this version of Salomé, at a short 110 minutes with no interval, will mesmerize you but may also confuse you as the story is told through song and dance and imagery and hebrew, and lots of sand and water. But it’s the story of Salomé who was born the daughter of Herodia who was a princess of the Herodian Dynasty of Judea during the time of the Roman Empire. Salomé, as you may or may not know, is infamous for receiving the head of John the Baptist. Played in this show by Isabella Nefar, Salome is not very respected, stands naked on the stage, has sand thrown all over her, but it’s at the end that she’s redeemed and resurrected, but the road to get there is an intense one.

    A character by the name of Nameless (Olwen Fouéré) tells the story of Salomé, as Salomé the character doesn’t speak, and takes place in Roman occupied Judea. She’s yelled at and ridiculed by her stepfather Herod (Paul Chahidi), but finds something, perhaps a kindred spirit, in Iokanaan – John the Baptist (Ramzi Choukair).

    But it’s not just the story, it’s the design of the show, by Susan Hilferty, that takes us on a journey, or perhaps better worded – on a ride – a ride that’s both luminous and heavenly, with lighting that adds mystery and darkness. It’s also the haunting vocals and chanting of Israeli folk musician Yasmin Levy and Syrian soprano Lubana Al Quntar that will take your breathe away. Their vocals that accompany the story told on stage is the most memorable part of the show – their voices are out of this world, and listening to them is well worth the price of the ticket.

    Salomé will be broadcast by NT Live on Thursday 22 June 2017. For further details visit NTLive.com

    Below is a list of connected talks and events for Salomé:
    Acts of Violence and Salomé, Monday 12 June, Cottesloe Room, 2-5pm
    Mothers/Daughters/Sisters, Wednesday 21 June, Cottesloe Room, 6-7pm
    Yaël Farber, Friday 14 July, Olivier Theatre, 6-6.45pm

    To buy tickets, please go here:
    https://www.nationaltheatre.org.uk

  • THEATRE REVIEW | Late Company, Finborough Theatre, London

    ★★★★ | Late Company, Finborough Theatre, London

    Much like the recent Netflix smash hit series “13 Reasons Why”, “Late Company” examines the events surrounding the suicide of a teenager.

    In this case, Michael and Debora, a wealthy politician and artist have invited round for dinner another boy involved in the online bullying campaign which they blame for contributing to their gay son’s death. Accompanied by his parents Tamara and Bill, Curtis is a mess of teenage angst as they face a dinner party with the potential to be a vision of hell. No prizes for guessing that the earnest plan for ‘closure’ that Tamara is hoping will help Curtis to move on isn’t going to be easily attained.

    Young Canadian writer Jordan Tannahill has created a thing of devastatingly tender beauty in this one act play addressing some of the issues around being a teenager or a parent of one in the 21st century, responsibility for our acts and grief. It sounds gloomy and hard going and at points it is but it’s also surprisingly humorous and compelling to watch.

    It’s a tense but brisk 75 minutes and is a play where the audience feels a constant switch in allegiances and perspective. Was Curtis such a monster? Were Michael and Debora really such good parents? Was the bullying all it seemed? What at first glance seems to be a given set of circumstances is more complex, as things so often are in life.

    The play is tightly scripted and well acted with five sterling performances. This is a startlingly relevant play which will is both entertaining, thought-provoking and heartbreaking. Go see it.

     

    Late Company plays at The Finborough Theatre until 20th May 2017

  • THEATRE REVIEW | To Sir, With Love, The Birmingham Rep

    ★★★★ – What theatre is all about!

    Photo Credit – Graeme Braidwood

    Adapted by Ayub Khan-din for Birmingham, To Sir, With Love had its natural charm and appeal to the audience of The Rep. The local, ‘banterous’ fun was well appreciated and received for many laughs were heard in the auditorium. What also impressed me, and I found highly commendable, was the extent to which The Birmingham Rep invested their efforts into nurturing young, new and home-grown talent via The Young Rep Company.

    Every young person shone and were utterly convincing in the roles they played, conveying a variety of emotions with much maturity. Charlie Mills who played Denham, stood out for his aggressive demeanour at the start, and the 360 degree turn at the end. His transition from delinquent to amicable was very warming to witness. Alice McGowan portraying Pamela performed with delicateness but fierceness too and, though her part was smaller, Alice really invested her time to move elegantly and speak with natural flair in-line with the character’s traits. Eden Peppercorn, who played Monica, did really well in contributing to the chaos and challenge of Mr Braithwaite’s initial classes. Her subtle change of heart was well developed and endearing too. Phillip Morris, local actor who trained at Birmingham School of Acting, did a sterling job, to the point of gripping the audience all the way through while fully harnessing the moments and challenges in which his character found himself in. Phillip Morris was a star of the play, and I believe this opportunity granted by The Rep will no doubt further his career in the theatre industry.

    I really loved the thorny fun had between the characters of Mr Weston and Clinty, played by Matt Crosby and Polly Lister respectively. Polly really embodied the locality of the adaption through her West Midlands accent, and she was much joyful to watch, with exquisite comedic timing. Matt was a treat to watch too, and he must have channelled a teacher he knew, because his portrayal of Mr West really made me, and I’m sure others, reminisce, not very fondly, teachers from our pasts; or for those in the profession, education staff would probably relate too.

    Plays are instrumental to teach people their own history. To Sir, With Love did just that. It gave us flavours of the past mixed with contemporary seasoning. It was a feast to be lapped up! Using young talent really made the production special and very memorable, and I hope to see the young actors on stage again soon, as they so deserve it!

    Running until 6 May.

  • THEATRE REVIEW | Shirley Valentine – National Tour

    THEATRE REVIEW | Shirley Valentine – National Tour

    ★★★★ | Shirley Valentine – National Tour

    Shirley Bradshaw is a bored housewife from Liverpool, who has brought up her children, is trapped in a loveless marriage; and who spends her days talking to the kitchen wall and dreaming about Shirley Valentine, the girl she used to be before she was married. So when her best friend offers her the chance to head to Greece for a holiday, Shirley reluctantly takes it, and over the course of her holiday, she rediscovers her zest for life, falls in love with the idea of living and realises that it’s never too late to be yourself.

    PR Supplied

    Jodie Prenger, who is perhaps best known for winning the role of Nancy in BBC’s I’d Do Anything, is impressive in this one-woman show, where she delivers the monologue beautifully; injecting life into the script and forming a believable and likeable take on the character. Her delivery is natural and enjoyable and her comic timing is surprisingly good. It is a formidable task to hold the attention of the audience when you are the only person on stage for the best part of two hours, but Prenger manages it with ease and displays the underlying vulnerabilities hidden beneath the bold veneer of the housewife in a performance which makes you feel like you are catching up with an old friend.

    That said, even with such a good performance from Prenger, the real star here is Russell’s writing itself. Shirley Valentine is a heart-warming story of self-empowerment and a show which remains as beautifully crafted, witty, funny and well observed as it ever was. Throughout this monologue, what Russell creates is an instantly familiar character that you simply can’t help but warm to immediately, as her straightforward look on life is presented via a series of genuine laugh out loud moments which seamlessly flow into moments of calm reflection and sadness as Shirley takes stock of her life.

    But the most surprising thing is how a script about a bored middle-aged housewife written in the mid 1980’s can so easily relate to today’s gay community. What Shirley Valentine realises is that there is an abundance of joy in living your life for yourself, not for others; and that that it is never too late to be yourself or to be the person that you want to be – a theme that many gay men and women will undoubtedly recognise.

    Shirley Valentine is an engaging and enjoyable piece of theatre and, despite the shifting political and social landscape in the 30 years since the play was written, its message still resonates today; and you can’t help but leave the theatre with a warm glow.

    Shirley Valentine is currently at Sheffield Theatres (www.sheffieldtheatres.co.uk) until 29th April 2017 before continuing on its national tour up until 23rd September 2017. Visit http://shirley-valentine.com/ for full details

  • 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

  • THEATRE REVIEW | What’s In A Name, Birmingham Rep

    THEATRE REVIEW | What’s In A Name, Birmingham Rep

    ★★★★ | A modern farce that delivers ounces of emotion, comedy and suspense. A full platter!


    (Photo credit: Robert Day)

    What’s In A Name, written by Alexandre De La Patellière and Matthieu Delaporte, stages a dinner party packed with many surprises and twists that kept you on edge, and slightly edgy, while holding your belly for laughing. It is set in London, and the story centres itself around the name of Adolphe which Vincent jokes about calling his son when he is born. The story then darkens as secrets are revealed within each of the five guests.

    Sarah Hadland, who most would remember as Stevie in Miranda, stole the show with her multi-emotional portrayal of Elizabeth. Sarah was completely natural and every line and action was delivered with sheer dexterity and conviction. I was so happy to see Sarah aka Stevie up close, and to not see her as Stevie at the same time, which was something I really enjoyed. Raymond Coulthard was magnificent as Carl, and was great to see him back at the Birmingham Rep after watching him in King’s Speech. Carl carried the biggest secret and Raymond played the audience well, never giving any of it away. Nigel Harman, Eastenders, was formidable as Vincent, Elizabeth’s younger brother. Nigel conveyed him with such energy and natural flair that one could not help but be drawn every time he spoke and moved. Jamie Glover was excellent with his cross-examining scenes as Peter, challenging Vincent and others to prove a point. He made the set appear like it was his own home with the way he perched on or leaned against features in the front room signalling natural familiarity. Olivia Poulet as Anna was a great ingredient to turn the drama on its head with coming in quite late and revealing a hidden secret. Olivia was charismatic and held her own against the other theatrical titans.

    I seriously suggest everyone go and see this as it draws you in with the clever humour and sophisticated drama – you just didn’t know what you were going to get!