THEGAYUK

Tag: Gay Plays

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

  • 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 | Boys in the Buff, Stockwell Playhouse, London

    ★★★★| Boys in the Buff

    REVIEW | Boys in the Buff, Stockwell Playhouse, London

    If you want an entertaining, fun, sexy and scandalous night at the theatre, then Boys in the Buff is the show for you.

    It’s a show that objectifies the male body, and a musical bacchanalia full of fabulous song and dance by a crew who don’t take the show, or themselves, too seriously – they’re having fun and they let the audience in on all the fun as well.

    Natalie Harman as Diana is the hostess with the mostest – our compere for the evening. However, she, unfortunately, tells the boys what they can, and cannot do, and that means she demands that they don’t take their clothes off too soon in the show:(! But before they do the dirty and exciting deed, we are treated to song after song of camp musical numbers in a show that packs a lot into its 90 minutes runtime.

    Energetic and handsome William Frazer as Dan belts it out in the cute number “I Can Fly,” while the gang of men gets physical in “The Gym.” Shaun Riddick as Richard practically brings the house down in “My Foreskin and Me” and the hot and sexy and muscly Adam O’Shea gets to strut his stuff (along with his buff body) throughout the show which will have you screaming for more. And finally, there’s Phil (Julian Quijano), who soon finds the confidence to strip off for the audience.

    It’s all done in a style that creates a cosy Chicago-style like cabaret show in a venue that’s perfect for its content – the Stockwell Playhouse (AKA Lost Theatre). Boys in the Buff is a musical revue with lots of skin on show that’s The Full Monty but with lots of laughs and thankfully some Monty.

    Boys in the Buff is playing at the Lost Theatre until July 29th

  • THEATRE REVIEW | Yank!, Charing Cross Theatre, London

    ★★★| Yank!

    THEATRE REVIEW | Yank!, Charing Cross Theatre, London

    A gay fictional World War II love story that tells some of its story via musical numbers is now playing at the Charing Cross Theatre.

    In Yank!, Stu (Scott Hunter), also given the name ‘light loafers’ by his 89th squadron fellow soldiers, is an 18-year-old wet behind the ears soldier drafted for WW II. His fellow soldiers know that he is gay, hence the nickname, but they must also contend with trying to save their lives as battles loom ahead. It’s not too long before Stu and fellow soldier, the hot and sexy Mitch (Andy Coxon), get together. After a few side glances and more than a few cheeky conversations, they expectantly kiss when they’re forced to share a bunk bed (ah, it’s all of our fantasies!). But is Mitch really gay or is he caught up in the moment? Their sort of relationship takes a turn when Stu is offered a job writing for Yank Magazine (it might just as well be called Wank magazine). It’s a job Stu wants because it will take him away from fighting on the front lines and will hopefully one day help him to publish the diary he has written of his exploits as a soldier. Stu’s new position takes him all over but he begs his editor Artie (Chris Kiely) to go to Hawaii as this is where the 89th is fighting, and it’s of course where Mitch is. Stu can’t stop thinking about Mitch and they rekindle the romance they had, well now it’s more than a romance, it’s a full blown relationship as Mitch discusses them moving back to his hometown and living together. But it’s the evil Tennessee (Lee Dillon) who steals Stu’s diary and turns in into the authorities in a time when homosexuality was absolutely forbidden in the army. And things will not be the same for Stu and Mitch and the rest of the 89th- war, death, and jail rear it’s ugly head.

    Yank! is reminiscent of the war musicals of Rogers & Hammerstein (South Pacific) where romance, between a man and woman, was inter-spliced with memorable musical numbers. In Yank!, brothers David and Joseph Zellnik have created a gay WWII love story that pays homage to these 1940’s musicals and cleverly takes the name of their show from the WWII army publication Yank, the Army Weekly. Having opened up, appropriately, on gay pride weekend, Yank! is a celebration of gays in the military, but it does make a few missteps along the way. Hunter is fine as the scared soldier Stu, but I didn’t find him as charismatic as he should’ve been, while some of the staging and songs are a bit off, including a song about pin-up girls (“Betty”) that goes on way too long. Coxon shows that he’s the true stage actor among the cast – his acting and singing are excellent, while the rest of the supporting soldiers do the best they can do with what they have been given (a scene about gay telephone operators is a bit dreadful and really doesn’t need to be in the show). There is at times clever use of the stage, including during the battle and interrogation scenes, and Sarah-Louise Young is just about perfect in her various roles. Director James Baker just doesn’t get it exactly right in making this show a must see event. While it’s a show that is light on its feet and has a few snappy musical numbers, it’s not groundbreaking nor particularly excellent.

    Yank! is playing that the Charing Cross Theatre until the 19th August

     

  • THEATRE REVIEW | 5 Guys Chillin’, Kings Head Theatre, London

    ★★★ | 5 Guys Chillin’, Kings Head Theatre, London

    5 guys chilling kings head theatre review

    There’s a chemsex party taking place at the King’s Head Theatre. No, it’s not an actual party – It’s the returning show 5 Guys Chillin’.

    In the comforts of the living room of J (David Palmstrom) and M (George Fletcher), them and three other guys (actually men) are enjoying each other as well as the drugs on the table in order to experience the highs, and in some cases, the lows, of what gay men (not all gay men) are getting into nowadays; drugs and sex and more drugs and in some cases unsafe sex in private house parties.

    B (Gareth Watkins) and R (Tom Ratcliffe) are a bit of an unmatched couple; R is very young but not so innocent, while muscular big daddy B is experienced and likes it any which way and loose. And the last one to arrive at the party is Pakistani PJ (George Bull). He’s a bit unsure as to why he’s there, but slowly gets into the action. But he’s got a story to tell the other guys; he’s actually married with a young child because it’s what is expected in his culture. Besides him, all the guys have stories to tell; B’s story is particularly vivid as he recounts the time he was spit roasted in Berlin where sexual diseases were not discussed. It’s all a lot to take in; the play’s honesty and brutal nature is scary because know all know these types of gay men, and parties, do actually exist.

    And all the actors should be admired for performing such an in your face play shedding emotions as well as bravely shedding their clothes. Writer and Director Peter Darney seems to have gotten the tone and characters right, but luckily I wouldn’t know because I’ve never been and don’t plan to go to one of these parties.

    5 Guys Chillin’ plays at Kings Head Theatre  until June 3rd 

     

  • 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 | When Harry Met Barry, Above the Stag Theatre, London

    ★★★| When Harry Met Barry, Above the Stag Theatre, London

    It’s not When Harry met Sally but When Harry Met Barry at the Above the Stag Theatre in Vauxhall.

    Unfortunately there is no orgasm scene in sight, just a few catchy tunes and a few laughs in a show that is cute and lively and a fun night out.

    Harry (Brandon Gale) and Barry (Sam Peggs) had a ‘thing’ seven years ago, but now TV chef Harry is dating fashion designer Spencer (Austin Garrett) while junior lawyer Barry has hooked up with the quirky yet adorable Alice (Maddy Banks). Spencer and Alice are serious about their relationships with Barry and Harry, respectively, even to go so far as to discuss wedding plans! Gads! But when Harry and Barry accidentally bump into each other, their love and desire for each other is rekindled, enough so that it causes a whole heep of heartache and a breakdown in their current relationships. Set to trendy and memorable musical numbers – very modern and hummable with ‘Why Ask for the Moon’ one of the better songs – When Harry met Barry is a true musical romance with a love triangle that will set your heart aflutter. All adequately sung and acted by the very young cast, with Banks doing a particularly good job in her role as the jilted young woman. It’s got cute music, a goodlooking and energetic cast, and one all too brief scene of two of the sexy actors in their underwear. It looks like Above the Stag theatre has another hit on their hands.

  • THEATRE REVIEW | Angels in America, National Theatre, London

    ★★★★★| Angels in America, National Theatre, London

    Angels In America 2017 review

    It’s seven and a half hours long, and it’s shown in two parts, but Angels in America: A Gay Fantasia on National Themes is well worth a watch.

    Calling it epic does not even describe the show. Now playing at the National Theatre, it is monumental, larger than life, phenomenal, engrossing, but it is in no way too long or too boring – sure it may be a bit complex, but it’s first class theatre. And both parts of the production – Millennium Approaches and Perestroika – really do need to be seen together. And the cast in this current production is top notch – actors you might not be able to see in such a production again in your lifetime. But more on the cast later.

    Unfortunately, Angels in America is totally sold out – it’s been sold out since tickets went on sale, and calling it the hottest ticket in town is an understatement (the upcoming Hamilton may come close, but Angels is in a limited run, only up until August 19th). So If I were you, I would do anything to get a ticket. But more on that later.

    Angels in America has won almost every theatre award up for grabs. Written in 1993 by Tony Kushner, it has won the Tony and Pulitzer Prize awards, and both parts were performed in London in the early 90s. What is it about? Well, first and foremost it’s about AIDS in New York in the 1980s – that horrible decade when friends were dying right and left, disappearing only never to return. There was no cure, and when people started to see purple lesions on their skin, they knew that it was all over. But Angels in America is also about so much more. It delves deep into relationships that we have with each other and especially with ourselves, it deals with power, greed, lust, lies, betrayal as well as fantasy, ecstasy, religion and last but not least life (notice that I did not mention death). The show is complex only in that it goes off into the deep end at times for the necessity of one of the characters. Angels is also still very timely, as it touches on immigration and discrimination based on heritage – themes we are seeing first hand in the much-changed political climate that we now live in.

    Andrew Garfield is Prior Walter – and he’s got AIDS. He’s good looking yet very thin and has the tell-tale signs of the disease (Kaposi’s Sarcoma). James McArdle is Louis Ironson, his boyfriend who’s having a hard time dealing with Prior’s illness. Then there’s Joe Pitt (Russell Tovey), who is married to Harper Pitt (Denise Gough). The Pitt’s are Mormons from Seattle and live in Brooklyn. Harper Pitt has problems, she’s agoraphobic and has hallucinations. Joe, a clerk in a law office, is deeply closeted.

    Then there is Roy Cohn (Nathan Lane), a notorious ruthless lawyer who happens to be gay but doesn’t quite believe it himself and definitely doesn’t want anyone to know this. So for over seven hours, we go on a ride with these characters as Angels in American puts them, and us, through a rollercoaster of emotion and drama. Louis is unable to care for Prior and walks out on him at the moment that Prior needs him most. Louis strikes up more than a casual friendship with Joe as they both work at the same law firm. Meanwhile, Joe, who becomes more than a bit friendly with Cohn his mentor, eventually falls in love with Louis. Meanwhile, Prior (and eventually Cohn) are taken care of by nurse Belize (Nathan Stewart-Jarrett). But all’s not right in Prior’s life – he’s seeing angels, angels that are trying to tell him a message, angels that are a response to his illness, yet there’s not much these angels can do for him except only to be by his side (or to fly over him)… they’re helpless just as much as he is. There’s also a crisis in the Pitt home – Joe’s mother sells her house in Utah and goes to Brooklyn to look for her son who has just announced to her that he is gay. And Cohn can’t accept the fact that he’s got AIDS – he informs his doctor that it’s liver cancer that he’s got. And Belize turns out to be the real angel in the show – taking care of the dying, the ones who don’t accept the fact they’ve got AIDS and the ones who are way too young to die of AIDS.

    Angels in American deals with a dark time in gay history – the AIDS plague. Conservative President Ronald Reagan didn’t help matters. He did nothing about the disease, Rock Hudson had just died, and the stigmatisation of the disease pretty much erased all the gains that the homosexual community had achieved in the late 1960s and 1970s. But in this retelling, and for those of us old enough to be around where all this actually happened, it takes us back to the time when there was nothing we could do for our friends dying of the disease but to just hold their hands and watch them die. And Angels in America takes us back to those horrible time. It’s a credit to the story and the production that the performers excel in their roles and take it to the next level. Garfield has a field day playing Prior – he’s in agony because he’s dying and because Louis has left him – and Garfield gives it his all and succeeds enormously. Lane was made to play Cohn – caustic yet not a bit remorseful, even after the ghost of Ethel Rosenburg practically stands over him waiting for him to die. Lane is just simply superb. Tovey – in his biggest stage role yet – doesn’t disappoint. His Joe Pitt is vulnerable yet determined to be who he’s supposed to be, and he accidentally falls in love with Louis yet is still in love with his wife, and Tovey is very believable every second he is on stage. Stewart-Jarrett, practically an unknown, holds his own with the acting heavyweights on the stage. His nurse and friend Belize

    Russell Tovey in Angels In America 2017 review

    It’s a credit to the story and the production that the performers excel in their roles and take it to the next level. Garfield has a field day playing Prior – he’s in agony because he’s dying and because Louis has left him – and Garfield gives it his all and succeeds enormously. Lane was made to play Cohn – caustic yet not a bit remorseful, even after the ghost of Ethel Rosenburg practically stands over him waiting for him to die. Lane is just simply superb. Tovey – in his biggest stage role yet – doesn’t disappoint. His Joe Pitt is vulnerable yet determined to be who he’s supposed to be, and he accidentally falls in love with Louis yet is still in love with his wife, and Tovey is very believable every second he is on stage. Stewart-Jarrett, practically an unknown, holds his own with the acting heavyweights on the stage. His nurse and friend Belize

    Stewart-Jarrett, practically an unknown, holds his own with the acting heavyweights on the stage. His nurse and friend Belize is practically the glue that holds the other characters together – and Stewart-Jarrett does it so sarcastically and beautifully. A star is born. McArdle is adequate – he’s got a lot to do and say and it’s perhaps one of the hardest characters in the show as so much centres around him – and McArdle just about succeeds, but less so Gough as Mrs Pitt who doesn’t quite wow us as the others do. Other notable performers include Susan Brown as Harper Pitt, Joe’s mother, and especially Amanda Lawrence, who plays the Angel, a nurse, a homeless woman, and a Sister, among others, is there nothing this talented performer can’t do?

    Of course, the sets and music are all amazing, and director Marianne Elliott brings it all together in excellent fashion – but it’s all about the acting (and the message) in Angels in America, the message is loud and clear – this show is history in the making and relevant to all of us now, even 25 years after it was written.

    The National Theatre is running a ballot for £20 tickets so I urge you to give it a try. There are two ballots left:

    Ballot no.’s 4 and 5
    Show dates included in the ballot: 11 Jul – 29 Jul and 2 Aug – 19 Aug
    Ballot opens at midday on: 26 May and 30 Jun respectively as per the dates above

    You’ll need to log-in to your National Theatre account or create an account to register for the ballot, you can do so here:
    https://www.nationaltheatre.org.uk/angels/login?destination=node/5066

    Also, Angles in America will be broadcast live to cinemas around the UK and internationally. Part One will be broadcast on 20 July and Part Two will be broadcast on 27 July. For more information and to buy tickets, please go here:
    http://ntlive.nationaltheatre.org.uk

    Photos by AiA Perestroika Production Images (c) Helen Maybanks

  • 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 | 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 | Adam and Eve and Steve, Kings Head Theatre, London

    ★★★ | Adam and Eve and Steve, Kings Head Theatre, London

    Adam and Steve theatre review, kings head
    It’s not Adam and Eve but Adam and Eve and Steve (plus the Devil) at The Kings Head Theatre.

    A musical version of the biblical story that we all know and love so well is just what we need in this time of Brexit and Trump. But in this story Steve (Dale Adams), and not Eve, is accidentally created by God (the voice and later the body of Michael Christopher) – thanks to Beelzebub – the Devil (played to camp perfection by Stephen McGlynn). But Adam (an innocent looking Joseph Robinson) thinks that Steve is actually Eve, but then God waves his magic wand and creates the real Eve (a sexy Hayley Hampson) and it all becomes very confusing for Adam. Beelzebub tempts them all to take a bite of, as he calls it, the pom (a/k/a apple) against God’s wishes. But Steve wants to be with Adam, and Eve wants to be with Adam, and Adam is confused, and what does Beelzebub (and the mostly gay audience) want?

    For Adam and Steve to hook up, and, of course, Beelzebub (and us) wants everyone to sin! Set to a sinfully silly musical score (‘I want to shop for furniture’ was one of the most memorable tunes) and tons of references to the existing world (Uber, Ikea, gluten free), with lots of skin on show, Adam and Eve and Steve won’t change your life but it will make you forget all about the outside world for a luckily brief 75 minutes.

    Adam and Eve at the kings head

    Adam and Eve and Steve Plays at the Kings Head Theatre until 29th April 2017

     

  • THEATRE REVIEW | Yank! The Musical

    ★★★★ | Yank! The Musical

    Yank! The Musical review
    credit Anthony Robling

    Manchester’s Hope Mill Theatre is the perfect setting for this MGM-style musical which is performed with style and honesty.

    This new musical, written by brothers David and Joseph Zellnik, is having its premiere at the Hope Mill Theatre in Manchester. It is an apt location for this innovative piece which buckles the trend of new pop-musicals. Yank! is billed as World War II love story. While ostensibly this is true – it’s actually much more than it gives itself credit for.

    The show centres around Stu, a young gay man, who is drafted into the army to fight in the Second World War. He struggles to find his literal and metaphorical place amongst the pseudo-masculine military men – a mission which is only complicated by his complex relationship with his fellow squadron Mitch.

    Musically and stylistically, Yank! has all the makings of the classic MGM musical. Though the second act goes to places which are considerably more candid and poignant that you might expect from a show consisting of tap-dancing men in khaki.

    Scott Hunter plays the timid Stu with a fragile believability and Barnaby Hughes’ Mitch has all the charisma you’d expect from an, albeit untraditional, leading man. The ensemble cast are also strong all-rounders and support the principle cast in moments of hilarity and sincerity alike.

    Despite the show being set almost 80 years ago, the tropes of this new musical are as current as ever. Substitute the frontline with a school playground, workplace or a homophobic family home, and you’ll see that the struggles of young gay men are not confined to the stories of history.

    The tropes surrounding institutions and homophobia couldn’t be more timely. In recent years we’ve seen the legalisation of gay marriage, the story of Alan Turing been turned into a Hollywood film, and scores of gay men being posthumously pardoned for sexual offence crimes.

    Baker, the show’s director, said that he didn’t want these stories to get lost from history. With this charming new musical hopefully set to become a staple of musical theatre repertoire, the story of Stu and Mitch, and the men they represent, will hopefully live on for years to come.

    Yank! The Musical plays at the Hope Mill Theatre until 8th April 2017