THEGAYUK

Tag: Gay Plays

The latest reviews and news about gay plays in London and around the UK.

  • THEATRE REVIEW | My Dad’s Gap Year, Park Theatre, London

    THEATRE REVIEW | My Dad’s Gap Year, Park Theatre, London

    ★★★★ | My Dad’s Gap Year

    Review of My Dad's Gap Year
    (C) Pamela Raith

    A father and son take an adventure of a lifetime in My Dad’s Gap Year.

    Now playing at the Park Theatre in Finsbury Park, My Dad’s Gap Year is a hilarious comedy about a father trying to bond with his conservative gay teenage son while going through a mid-life crises. Dave (Adam Lannon), dad of 18-year old William (Alex Britt), feels it’s time for them to sow their wild oats. But uptight William is not so wild, he frowns upon everything his unemployed dad does, which includes lying around the messy house not being productive. Meanwhile, William’s mom and Dave’s ex wife Cath (Michelle Collins), being the sensible one, holds a full-time job while maintaining an arm’s length relationship with Dave. But when Dave, at the very last minute, persuades William to go with him to Thailand for some father and son bonding and fun, them, and Cath, have no idea who sort of adventure, and trouble, Dave and William will get into.

    But once in Thailand, William meets cute architect Matias (Max Percy), while Dave meets beautiful Mae (a lovely Victoria Gigante). While Williams falls head over heals for Matias, Dave does the same for Mae, who works at a bar where all the ‘women there were born boys.’ But Dave’s drinking problem never goes away, while William has his own personal meltdown, leaving Cath to go to Thailand to do damage control.

    My Dad’s Gap Year is a fun show with a great cast. At only 90 minutes, it’s crisply directed (by Rikki Beadle-Blair) with funny dialogue and actors who deliver their lines perfectly. And while the show wraps up a bit too neatly at the end, all the actors are very good throughout. Lannon is very good as the father, Collins gives the show extra spark, but it’s Gigante who is extra special as Mae, a girl who just wants to have a happy life.

    My Dad’s Gap Year plays at the Park Theatre until 23rd Feb 2019. Book Tickets Here

  • THEATRE REVIEW | Coming Clean, Trafalgar Studios,London

    ★★★★☆ | Coming Clean

    Before the late Kevin Elyot wrote his hit 1994 play My Night with Reg, he wrote Coming Clean (which opened in 1982). It’s now back in the West End after a recent successful run at the King’s Head Theatre.

    Both shows deal with the trials and tribulations of being gay, and being in gay relationships. But where My Night with Reg had an AIDS backdrop, Coming Clean takes place during a simplier time, before the HIV crises and before gay men were dying right and left and centre.

    At the heart of Coming Clean is the story of a bi-racial couple who, after five years together, obviously have issues. Tony (a natural Lee Knight) and Greg (Stanton Plummer-Cambridge) still love each other, but there is slight tension in the air.

    Greg is a successful teacher and writer, while Tony is a not-so-successful writer who writes when he feels like it. And then there is their neighbour William (a fabulous Eliot Hadley), who is funny, camp and all so great to have around. But Tony needs more time to write, and says he doesn’t have time to clean the Kentish Town flat that he and Tony live in, so enter Robert (Tom Lambert), who is hired to clean for them.

    It’s obvious where this biting play goes next, but it wonderfully takes us with it through sharp wit and extremely funny one-liners.

    And Coming Clean successfully incorporates early 1980’s songs by, among others, Men at Work and Barbra Streisand (where her and Barry Gibbs voices on the song ‘Guilty’ are just like butter) to set the mood of the times.

    The actors are all very good, with Hadley just about stealing the show (he comes back near the end of the play as a totally different character – think German Leather), and Knight looks very comfortable on stage.

    It’s an intimate stage that could double as a large living room (Trafalgar Studios), and it’s even more of a treat for those audience members who sit in the first row, as they get to be very very close to Lamberts’ bits. This show is highly recommended!

    Coming Clean plays at the Trafalgar Studios until February 2nd, 2019. Book Tickets Here

  • THEATRE REVIEW | It Happened in Key West, Charing Cross Theatre, London

    THEATRE REVIEW | It Happened in Key West, Charing Cross Theatre, London

    ★★★ | It Happened in Key West

    A true story of a man who dug up the love of his life is a musical called It Happened in Key West.

    Yes, it did happen in Key West. In the 1940s, Count Carl Von Cosel fell in love with a woman, Elena, he was treating for tuberculosis . She died, but von Cosel was so infatuated and in love with her that he dug up her body and, for over 7 years, lived with her, well not really with her but with her body, in his house, in Key West.

    Now playing at the Charing Cross Theatre, with book, music and lyrics by Jill Santoriello, book and additional lyrics by Jason Huza, and book and original content by Jeremiah Janes who all collaborated together to create this musical, while a bit on the funny side, is too morbid and too silly to be taken seriously, and not funny enough to be camp and over the top.

    Having said that, Wade Mccollum is great as the Count. He’s got a great singing voice, especially in a song where he pines for Elena (‘Undying Love’ and ‘I’ve Never Felt This way’) are two standouts. He commands the stage and surely belongs in the West End but in a better show. Alyssa Martyn is just fine as Elena, who surprisingly dies before the first half is finished – it might’ve made more sense to have her die after the first half, but she does sing ‘I Feel Love,’ while dead, in the second half, and comes ‘back to life’ at the very end to sing, beautifully, in the finale. Director and Choreographer Marc Robin doesn’t have a whole lot to work with, it seems like the same 12 boxes remained as the set the whole way through the show. ‘It Happened in Key West,’ billed as a New Romantic Musical Comedy, is not much of a musical nor a romance.

    http://www.charingcrosstheatre.co.uk

  • THEATRE REVIEW | San Domino

    THEATRE REVIEW | San Domino

    ★★★★★ |  San Domino

    San Domino is an island off the east coast of Italy that was once an island where people of a certain ‘way’ were exiled to by the facist Benito Mussolini government. He banished prisoners there to pay for their ‘crimes’ – some of the crimes being speaking out against the government. It was also a place where homosexuals were sent as well.

    A new show by the name of San Domino beautifully tells this story that very few people are aware of.

    Now playing at the Tristian Bates Theatre in Covent Garden, ten men, in 1939, are having a great time in a bar in Catania, Sicily. They have not committed any crimes, but a knock on the door will change all their lives forever. According to the government, they were degenerates because it is suspected they were homosexuals and thus were sentenced to five years. These men include men from all walks of life, including older Carlo (Matthew Hendrickson) and young handsome Claudio (Alexander Hulme). San Domino tells the men’s stories, through dialogue and music, in a show that is poignant, dramatic and superbly acted, especially when the show moves from the jovial atmosphere of the bar where the men are being themselves to the camp where they share bunkbeds and are kept under careful watch of the prison guard and the very mean chief of police.

    Andrew Pepper is just superb as the androgynous Pietro, sensitive and always looking for love in all the wrong place, and Pietro never holds back and says what’s on his mind. The rest of the cast really work well together in a show that really is a must see.

    San Domino first previewed to an enthusiastic audience at the Courtyard Theatre in London, then played to a full house at the Arcola Theatre’s Grimeborn Festival in 2014. With Book & Lyrics by Tim Anfilogoff, and music composed by Alan Whittaker, with Direction by Matthew Gould, San Domino excellently tells the story of the one night in 1939 when many gay men were rounded up. It’s a story that should’ve been told years ago.

    Photo provided by KWPR / Grant Neal & Joe Etherington

  • THEATRE REVIEW | The York Realist – The Crucible Theatre, Sheffield

    THEATRE REVIEW | The York Realist – The Crucible Theatre, Sheffield

    The York Realist

    Set in the 1960’s, hard-working Yorkshire farmer, George, is volunteered for a part in the York Mystery Plays by his busy-body (and somewhat devoted) neighbour; where he meets and falls in love with John, the London based and rather cosmopolitan assistant director. But despite their feelings for each other, the difference in their two very different worlds soon becomes apparent.

    Director Robert Hastie shepherds the cast with skill, never shying away from the intensity and emotional impact of silence and pause in the midst of the drama; and eliciting quality performances from the cast with an unassuming ease. Jonathan Bailey (Broadchurch) and Ben Blatt (Spooks) excel in their respective performances as John and George, having a terrific on-stage chemistry and engaging in performances which were wholly absorbing, touching and brimming with genuine emotion.  Brian Fletcher’s monosyllabic character of Jack brought some of the lighter moments within the piece, whilst Lesley Nicol (Downtown Abbey) brings a warm and instantly recognisable charm to her portrayal as the down to earth matriarch of the family, which is as homely as the cottage kitchen that makes up the stage.

    Peter Gill’s script vacillates from fast-paced, northern-humour filled dialogue to long silent pauses of emotional drama with ease; and is reflective of the changes in society at the time, both in terms of the progress of modern life and the beginning of a change in attitudes. There is an underlying reticence of some of the characters to move on into the modern world, which mirrors the cautious approach of John and George to their relationship; and, in particular, whether George lives his life for himself or for others, despite his family’s unspoken acceptance of his sexuality. There is a real tension between the old-fashioned values and the familiar feel of a comfortable, established life and the progression into a time of social and economic change; which sits alongside a head-on clash of city and country life and a disparity between the social class of the protagonists.

    Running at Sheffield’s Crucible Theatre until 7th April 2018, The York Realist is a touching, tender and tear inducing piece of heartfelt and beautifully understated theatre; with solid central performances from two actors with a genuine on-stage chemistry, and enough Yorkshire humour to satisfy the home crowd.

    Visit www.sheffieldtheatres.co.uk for tickets and details.

  • THEATRE REVIEW | Callisto a queer epic, Arcola Theatre, London

    ★★★ | Callisto, Arcola Theatre London

    CREDIT Lidia Crisafull

    Callisto is four tales for the price of one in a time travelling epic concerning queer people in different eras. They’re not stand alone stories but are interspersed and entwined with each other. Basically, it’s a poor man’s ‘Cloud Atlas’ but with LGBT people. The first tale is about opera singer Arabella who’s married to another woman and about to be exposed and get herself in some serious trouble. Secondly, Alan Turing is talking to the mother of the boy who was his first love. Thirdly, Tammy is on the trail of a hot porn actress who she’s become infatuated with. Finally, CAL is an A.I. in the future who’s fallen for a human.

    They’re a mixed bag of plays which don’t all work as well as they might and there’s something derivative about the whole set-up at times. The scenes about the 17th-century female couple are the strongest and the Alan Turing scenes are cleverly written but lack much drive, floundering in parts. The other two sections fare less well, especially the futuristic part. If the future involves talking in strange mixed up speech whilst wearing bicycle lights shining down your legs and tee-shirt, culottes combos with odd side ties then count me out of it.

    The production has merits with strong acting and a wry sense of humour but doesn’t quite fill its potential. Regardless, it’s an engaging evening and worthy of a look.

    Callisto a queer epic is playing at the Arcola Theatre, London

     

     

  • THEATRE REVIEW | Boys in the Buff, Kings Head Theatre, London

    ★★★ | Boys in the Buff

    The Full Monty. Naked Boys Singing. And put Boys in the Buff in that category.

    Yes, these are shows where the male cast take their clothes off and sing and act (a bit) for the audience. Of course, The Full Monty was the biggest of the bunch (biggest I mean most popular – ahem). Naked Boys Singing was the gayest, and Boys in the Buff is in a category all by itself – the campiest!

    Four good-looking young men and a voluptuous compere entertain us with their flare, razzle-dazzle, and their bits (well not the compere – who is female!) in a show with witty and cute songs and dialogue but perhaps lacking in good taste, and in a couple of cases, passable acting! But singing, and acting, is not what this show is all about – we’re left in anticipation of waiting, and wanting, for the boys to take their clothes off. In the meanwhile, we are treated to really fun songs like ’Size Doesn’t Matter,’ ‘Does My Bum Look Big in This,’ and ‘Let it All Hang Out,’ and dreadful ones that include ‘Dancing in the Semi-Nude’ and ‘My Foreskin and Me.’ There’s also audience participation much to the delight (not) of the audience. But in the intimate confines of the Kings Head Theatre, where the first two rows are so close to the stage it’s almost a crime, the boys really pour out their hearts, and display their bits, for us soldieringly. Adam Mroz is so cute and sexy; you just want to take him home and put him on your bookshelf! Hunky Adam O’Shea, who was in the original production at the Lost Theatre this past summer, brings his muscles with him, – he’s certainly got pecs-appeal! Daniel Timoney is along for the ride, as is Eli Caldwell. But Shani Cantor is just fab fab fab as the hostess with the mostest! All in all, it’s one hour of fun!!!

    Boys in the Buff plays at The Kings Head Theatre until Dec 9th, 2017

     

  • THEATRE REVIEW | Of Kith And Kin, Bush Theatre, London

    ★★★ | Of Kith And Kin, Bush Theatre, London

    After a run in Sheffield Theatres’ studio, gay surrogacy themed comedy-drama Of Kith and Kin hits London at The Bush Theatre. Oliver and Daniel are 21st-century gays married with good jobs and a flat. Now it’s time to take the natural next step, start a family with Oliver’s best girl-friend acting as surrogate.

    Chris Thompson’s play is a three-act drama and is mixed in tone and effectiveness. Starting out as a light sitcom with a twist, it morphs into a courtroom drama and ends with a more emotionally intelligent third act. There’s something distinctly dated about the first act in spite of the modern update. There’s all the classic sit-com ingredients: happy couple, monstrous mother-in-law descending, waters about to break and high camp. The difference, of course, being that there are two fathers and one mother. The humour is tired at times and whilst it has wryly amusing moments it’s never uproariously funny. Joanna Bacon does a good job as the brash mum from Woolwich but it still feels limp. Speaking of limp: James Lance has some unfortunate mannerisms. He’s playing a 46-year-old gay man with a mischievous sense of camp but to me, he didn’t quite nail this and it felt like an unfortunate and unintentional misfire. His swishy hips and flapping wrists didn’t convince me and it felt like a straight man’s imperfect attempt at portraying a slightly effeminate gay man which was grating rather than being entirely offensive.

    Act two moves on to the courtroom and again misses the mark. The key ingredient to a courtroom drama is a sense of tension but this felt slack in spite of strong performances from Donna Berlin as an improbably wisecracking judge. Finally, the third act is a more moving piece of drama and the play feels like it finds its feet but still, there’s a lot of holes and moments where the characters’ motivations feel unconvincing.

    On the positive side: James Lance is a nuanced performer (in spite of his poorly pitched 1970s style interpretation of a gay man’s mannerisms). Equally strong in supporting his work are Joshua Silver and Chetna Pandya. There’s also an interesting and well-thought set of themes to the play. Thompson looks at intergenerational differences in the expectations of his character. Oliver at 46, was kicked out of home for being gay and has difficult family relationships, never expecting that monogamy, marriage and children would be on the horizon. Conversely, Daniel who is over a decade younger has every expectation that these things are part of his agenda and in spite of all this progress, Priya’s teenage son doesn’t seem to be having an easy time of ‘having it all’. The confrontations of the final act are genuinely moving and raise interesting questions.

    It’s good to see a thought-provoking drama with some strong performances and emotive scenes. Whilst not excellent it has merits and is worth a look at the refurbished and plush Bush Theatre.

    Of Kith and Kin plays at the Bush Theatre until 25th November 2017

  • THEATRE REVIEW | Le Grand Mort, Trafalgar Studios

    ★★  | Le Grand Mort

    THEATRE REVIEW | Le Grand Mort, Trafalgar Studios

    Acclaimed musical theatre writer Stephen Clark, who died last year, penned this two-hander play as a vehicle for uber camp legend Julian Clary. The play concerns ageing architect Michael (Julian Clary) who is cooking dinner for a younger man (James Nelson-Joyce) who’s he’s picked up in the pub. As he slices, boils and fries the food in a functional on-stage kitchen he shares his thoughts on sex and death. Naturally. Once Tim arrives it’s not clear whether it’s sex or death that’s on the menu and who is in charge of the situation.

    Let’s get some important things out of the way first. Yes, Julian Clary can cook. To be fair, it’s a simple recipe, though. Shirley Valentine had to fry chips and egg. He just chucks a few things in a pan and rustles up a pasta sauce. Can he act, though? Partially. He manages to deliver the tight monologue that forms the first part of the ninety-minute play but once the action heats up he flounders a little. His character’s uptight and rigid persona suits his physical presence and makes the job an easier one.

    The main issue here is the play itself. It just doesn’t quite work and although mildly engaging it misses the mark more than it hits it. It’s a fairly relentless onslaught of thoughts about the death of celebrities. What should be sinister feels absurd and what should be absurd feels humdrum. What feels like a calculated move to shock comes across as tedious. It’s also, bafflingly, partly in rhyme and there’s a bizarrely intrusive soundtrack to the piece.

    On the plus side, the kitchen is stylish and attractive as is the young actor James Nelson-Joyce. Spoiler alert: expect full nudity. Julian Clary is an interesting spectacle and the faults of the piece aside it’s good to see him tackle something that’s different from his usual milieu.

     

    Le Grand Mort plays at Trafalgar Studios until 28th October 2017

  • THEATRE REVIEW | Holding the Man, Above the Stag Theatre London

    ★★★★★ | Holding the Man

    THEATRE REVIEW | Holding the Man, Above the Stag Theatre London

    Holding the Man is a show that will rip your heart out and reduce you to tears.

    Now playing at Above the Stag Theatre in Vauxhall, it’s true story of two Australian men, Timothy Conigrave and John Caleo, who fall in love in the late 1970’s, who have their ups and downs during the 1980’s, and who both are diagnosed with the HIV virus and must deal with not only death knocking on their door but also the shortened time they have to be together. The show is based on the 1995 book by Conigrave and was written by Tommy Murphy. Most of you might have already seen the excellent 2015 film, or previous London productions (including the 2010 production at Trafalgar Studios). The Above the Stage production is just as hard-hitting.

    It’s the storytelling and the extremely strong performances of the cast at the Above the Stag that rate this production five stars. Jamie Barnard is excellent as Conigrave while Ben Boskovic as Caleo eerily captures his quietness and reserve. Both actors bring to this production a strength and resolute to their roles that they are almost living out these characters lives right in front of us. From the beginning of the show, we can feel that these two men were meant to be together. But this being the early 80s, not much was known about HIV, so, unfortunately, and I’m not giving anything away here because it’s a well-known story, AIDS was to rear its ugly head directly at these two young, beautiful men.

    Holding the Man takes us on a heart-stopping and heartbreaking journey while we travel with them in their relationship with each other in life and in death. And it’s Barnard and Boskovic who take us on this remarkable journey. Joshua Cole as a best friend of the two men provide welcome comic relief in a show that’s very serious: he’s charming and has the best lines in the play. Faye Wilson adds some much-needed sparkle as another one of the boy’s friends, while Liam Burke, Annabel Pemberton, and Robert Thompson round out the ensemble in various roles as parents, friends and fellow students. One scene that includes the whole cast is a hilarious masturbation scene that’s cleverly done and something I’ve never seen on stage before.

    But’s is the relationship between these two men that is at the heart and soul of this show. Director Gene David Kirk keeps the drama up and running while designer David Shields provides an excellent minimalist backdrop so the audience can focus on the story, and acting unfolding right before our very eyes.

    Kudos to Above the Stag Theatre for producing a serious, dramatic and extremely well-acted show that’s a welcome relief from their previous camp and silly previous productions. Categorise Holding the Man as a must see!

    Holding The Man runs at the Above The Stag theatre until 21st October 2017

     

  • THEATRE REVIEW | Outlaws to In-Laws, King’s Head Theatre, London

    ★★★★ | Outlaws to In-Laws

    THEATRE REVIEW | Outlaws to In-Laws, King's Head Theatre, London

    London is very fortunate to have a theatre like the King’s Head because of its repertoire of gay-themed shows. And now it’s in the middle of presenting its LGBT Festival with the showcase of a new play called Outlaws to In-Laws.

    Outlaws to In-Laws attempts, successfully, to depict the experiences of gay men over the last seven decades. And while it’s a subject that would be daunting for any theatre, or playwright, involved, the seven playwrights who wrote the seven shows that cover seven decades of gay life do their darnedest to both entertain and educate the audience. Here are some of the highlights:

    Happy and Glorious – by Philip Meeks – is set in the 1950s on the day of Queen Elizabeth’s coronation where two men fall into a tryst and both their lives change forever.

    Mister Tuesday – by Jonathan Harvey (Beautiful Thing) – Peter and Jimmy have sex, on Tuesdays, but we soon realize that Jimmy is married with children while Peter threatens to blackmail him just so that he can keep the trysts, and possibly more, ongoing.

    Reward – by Jonathan Harvey – a riveting story where a rough and tough skinhead and a young black man meet at a bus stop and fall into a relationship, but it’s illicit one where both of them could be in real danger. Both actors, Jack Bence and Michael Duke, are excellent.

    1984 – by Patrick Wilde – where two men have an encounter, and one of them, a politico for Thatcher, realizes that all that he stands for is soon to change.

    Brothas – by Topher Campbell – where two black men, Dwayne and Remi, have fun cruising on a black dating site, slighting the unattractive ones while favouring the more ‘looking and acting straight’ ones. But it’s Dwayne who’s in it for more than just the sex.

    While most of the stories are very good, what is best about this production are the performances. All seven actors give it their best, but it’s a few of them who really stand out. Bence, as previously mentioned, is highly memorable as the skinhead in Reward and as Peter in Mister Tuesday – both roles require high stakes drama and passion, and Bence delivers, while both Myles Devonté and Duke look very comfortable in their roles in Brothas – they are both naturals in front of the audience.

    Outlaws to In-laws is two hours of theatre that, while a bit cobbled together, is still a very good journey that takes us from decade to decade of gay life linked together very cleverly and showcasing the talent of the playwrights and especially the actors.

    Outlaws to In-Laws is now playing at The King’s Head Theatre until September 23.

    For details of The King’s Head’s other gay production, “Gypsy Queen,” please go here:

    https://kingsheadtheatre.ticketsolve.com/shows/873576764