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Get the latest LGBT+ Sheffield news from THEGAYUK. Breaking news, features and interviews from the gay community in Sheffield in England, UK.

  • THEATRE REVIEW | Priscilla Queen of the Desert – National Tour

    THEATRE REVIEW | Priscilla Queen of the Desert – National Tour

    Rating: 2 out of 5.
    Priscilla Queen of the Desert - National Tour review

    Everyone’s favourite big, gay bus is hitting the road again, as Felicia, Tick and Bernadette unplug their curling tongs and go bush, travelling across the Australian outback and making their way to perform a show in Alice Springs.  Between the breaking down, bickering and bigotry, the trio learns about life, love and friendship whilst strutting their stuff in their high heels.

    As Felicia says at one point in the film that the show is based on, “there’s nothing like new frock to brighten your day, girls.” The show has been re-imagined and like the bus itself, it is given a fresh coat of paint.  But not every frock is made of satin and this production, unbelievably, manages to suck most of the fun out of what is, in reality, a superb show.

    Joe McFadden is woefully miscast as Tick, hardly making any eye contact with the audience and flipping between being virtually inanimate to over-exaggerating every gesture, whilst Miles Western portrays transsexual Bernadette more as a gay man than a trans woman; with only Jordan Cunningham bringing much to the main trio as Adam and his drag alter ego Felicia. 

    The corrugated iron-based background set is bland, gone are the recreations of the Oscar-winning costumes (to remove the flip-flop dress is a crime) and the titular bus doesn’t fare too well either. There is an abundance of unnecessary creative decisions – the “comedic” shooting of a kangaroo, a flashing nun and the addition of a set of dancing hicks whilst Adam belts out La Traviata from the top of the bus – which simply don’t sit well within the show. The delivery of the script fell flat. There is an increase in the sexualisation in the show, containing more groin thrusting that is really needed and seemingly replacing the camp with a vague sleaziness.

    The choreography was safe rather than outrageous, and the staging made the performance space seem almost empty when the ensemble cast were performing. Those who are seeing the show for the first time may well find much to enjoy, but disappointingly, this is an incredibly uninspiring production.

    On the plus side, the Divas’ were able to belt out the tunes, the soundtrack comprising of a selection of disco classics is stomping and the musical numbers are undertaken with energy and enthusiasm by the ensemble. But sadly, the re-imagined show looked cheap, the costumes were disappointing and tacky, the performances from the main cast were broadly poor and the over the top camp felt sadly lacking.

    It must be difficult to drain the life out of such a buoyant and uplifting show, but somehow, this production manages to do just that.

    Priscilla Queen of the Desert is at Sheffield Theatres before continuing on its national tour

  • THEATRE REVIEW | Everybody’s Talking About Jamie – National Tour

    THEATRE REVIEW | Everybody’s Talking About Jamie – National Tour

    Jamie is 16 and is not like his friends at school. His best friend wants to be a doctor, but he wants to be a drag queen. Raised by his mum in a single-parent family on one of Sheffield’s tougher estates, Jamie finds himself, and his alter ego, Mimi Me, with the help of fading drag queen, Hugo, and with the support of his ever doting mother and her best friend. But Jamie’s difficult relationship with his dad dents Jamie’s confidence; and the school aren’t particularly enthused about the big question on everyone’s lips – namely, whether Jamie will go to the school prom, or whether Mimi Me will.

    The West End smash is venturing out on a national tour, and starting its 20 venue run at its spiritual home of Sheffield Theatres. For a touring production, the presentation of the show is spot on, with a simple but versatile set and a slick and polished look and feel, as it heads out with a broadly fresh cast.

    Leyton Williams (Bad Education) reprises his West End role as Jamie, and whilst his vocals were not the strongest, his portrayal of Jamie was deliciously delightful. Amy Ellen Richardson absolutely nails her two show-stopping numbers as Margaret, Jamie’s mother; and George Sampson (Britain’s Got Talent) is impressive as Dean, the school bully. But it was Shane Richie who proved to be the biggest surprise of the night, balancing a measured performance as Hugo with a flamboyant turn as Loco Chanelle, his drag alter ego.

    The strength of the show lies not just in the performances, but in the excellent writing and the superb score. Beautifully blending comedy and emotion, the story is one which easily balances the comedy with genuine feeling. ‘He’s My Boy‘ is nothing short of a torch song, and the more tender moments between Jamie and his Mother nestle beautifully in the feel-good warmth of the sharp script. But there is also tremendous pop bubble-gum fun to be had with many of the musical numbers, and the choreography, characterisations and ensemble cast bring both the stage and the characters to life.

    The show doesn’t re-tread the usual ground with someone struggling with their sexuality, nor about seeking acceptance from their peers. Jamie is out, proud and everyone in his life loves him, which provides a refreshing change to coming of age stories such as these. The struggle is with Jamie’s self-image and his self-belief; and of the impact of his absent and rejecting father; and is very much a story about what makes a family rather than focusing on the acceptance or otherwise of Jamie’s sexuality.

    The new touring production for 2020 brings with it a vivacious burst of energy and the show remains as utterly joyful and triumphant as ever. I laughed, I cried and I cheered on multiple occasions over the show’s duration, and if you’ve not been able to catch the show in the West End, then the national tour is bringing Jamie to a theatre near you. Move aside, Blood Brothers, there’s a new standing ovation musical in town.

  • Theatre Review | Peter Pan Goes Wrong – National Tour

    Theatre Review | Peter Pan Goes Wrong – National Tour

    ★★★ | Peter Pan Goes Wrong – Sheffield Theatres

    The cast of Cornley Polytechnic Drama Society are back, with a disaster filled version of Peter Pan. Somewhere between the scenery collapsing, the technical hitches, backstage fallouts and some unrequited love between cast members, the troupe try to desperately to keep the show on the rails as chaos increasingly takes over, Peter Pan stops thinking happy thoughts and the crocodile becomes the star of the show.

    Mischief Theatre returns following on from The Play That Goes Wrong and The Comedy About A Bank Robbery with two hours of laughter-inducing slapstick humour as the fictional cast try desperately to get through the performance. With slick precision and perfect comic timing, the cast plough through a barrage of jokes with a broad scattergun approach to the humour, as some jokes hit the mark, some miss completely and with another gag always rapidly following the last. 

    There were certainly plenty of smiles, chuckles and belly laughs to be had throughout the show’s duration, although the last ten minutes did descend more into silliness than comedy, but this didn’t detract from the feel-good factor the show produces. Cast member Oliver Stenton steals most of the scenes he touches; whilst Tom Babbage captures the hearts of the audience as the hapless Max.

    If you have seen Mischief Theatre before, then you will know exactly what to expect and you won’t be disappointed as they continue with their trademark humour. If you’ve not, then Peter Pan Goes Wrong is a great introduction to them with an enjoyable, silly and easily entertaining show. 

    Peter Pan Goes Wrong is at Sheffield Theatres until 1st February 2020 before continuing on its national tour.

  • THEATRE REVIEW | St Petersberg Classic Ballet’s The Nutcracker – National Tour

    THEATRE REVIEW | St Petersberg Classic Ballet’s The Nutcracker – National Tour

    Nutcracker Doll, Act 1

    The Nutcracker needs little introduction, and tells the story of Clara who is whisked away to a magical land by the Nutcracker Prince to celebrate the defeat of the Rat King. This traditional ballet retains virtually all of its charm and Tchaikovsky’s instantly recognisable score remains a musical treat.

    Saint Petersburg Classic Ballet return with their annual tour of classic pieces, presented very much in the archetypal style of traditional ballet, with tutu’s and tights aplenty, a static set of rather plain backdrops, a virtually non-existent use of props and a dance space which allowed the performance to flood the stage with a bevy of dancers.

    Aside from the fixed grins, slightly loose synchronicity and a few heavy footfalls, the quality of performance in this tour seems to be much better than previous ones, with the cast putting in their all and some nimble and impressive dancing nestled amongst the rather safe choreography. It is not the most luxurious production you will see, but it remains functional and allows for the focus to be on the performances and music.

    With an easily followed narrative and the second act consisting primarily of short set pieces, the ballet progresses at a pleasing pace, making it a great starting place for ballet novices and families with younger children.

    Overall, the show is a pleasant and undemanding evening at the theatre, which remains firmly rooted in the traditional style. There is nothing innovative, ground-breaking or new in this production, but if you are seeking a very traditionally performed, accessible ballet in the classic style, then the St Petersburg Classic Ballet could well be just what you are looking for.

    The Nutcracker is at the Sheffield Lyceum until 11th January 2020 before continuing on its national tour

  • Theatre Review | Guys And Dolls – Crucible Theatre, Sheffield

    Theatre Review | Guys And Dolls – Crucible Theatre, Sheffield

    ★★★★ | Guys And Dolls – Crucible Theatre, Sheffield

    In an attempt to gather enough money to organise an illegal craps game, racketeer Nathan Detroit enters into a wager with gambler Sky Masterton that he can’t convince a girl to accompany him on a gambling trip to Havana. The catch? The girl in question is Sarah Brown, a religious and upstanding member of the Salvation Army, whose only interest in men like Masterton is in trying to convince them to leave behind their life of sin. So whilst Nathan Detroit does everything he can to avoid marrying his long suffering fiancé Miss Adelaide, Sky Masterton unexpectedly falls in love with the Sarah, as he tries to win the bet.

    Robert Hastie’s revival is punchy, pacey and perky and zips along at a cracking pace. With an ingenious set design of sliding panels which slot together to form the backdrop of prohibition era New York, and zoot suits which are as sharp as the script, Sheffield Theatres production of this classic musical is utterly delightful.

    Kadiff Kirwan oozes charisma as Sky Masterton and Martin Marquez brings a cheeky charm to the stage as Nathan Detroit. But whilst the ‘guys’ were great, the stage belonged very much to the ‘dolls’. Natalie Casey, as the lovelorn Miss Adelaide, beautifully balances comedy and sadness whilst giving a masterclass in musical theatre; and Alex Young brings warmth, humanity and female independence to the role of Sarah Brown.

    There is some dazzling choreography which the cast (and the audience) delight in, and the big numbers, including ‘Luck be A Lady’ and ‘Sit Down You’re Rocking the Boat’, don’t disappoint at all. For a show written some 70 years ago, there is something about this production which feels really fresh and vivacious. Thoroughly enjoyable and tremendous fun, Guys And Dolls is the perfect antidote to the dark winter evenings and is everything you would want from a feel-good classic musical.

    Guys and Dolls plays at Sheffield Theatres until 18th January 2020.

  • Theatre Review | Cinderella (and Panto’s in General) – Theatres Nationwide

    Theatre Review | Cinderella (and Panto’s in General) – Theatres Nationwide

    ★★★★★ | Cinderella, Sheffield Theatres

    If there is one thing that is sure to herald Christmas out there in theatre land it is the arrival of the traditional panto, and whilst many may immediately turn to thoughts of screaming children and D-list celebrities, there is a surprising amount of fun to be had at your local theatre this festive season.

    Whilst this review will be of Cinderella at Sheffield Theatres, it would probably extrapolate to theatres up and down the country. As South Pacific so ably put it, “There is Nothing Like A Dame”, and this year’s offering sees the return of panto dame, Damian Williams (Benidorm Live!) camping his way across the stage as Donaldina, one of the ugly sisters, ably partner by Matt Daines as Melina the other (somewhat) uglier one. This alone should start you thinking that the jokes here are not just for the kids, as a whole host of political figures come in for a ribbing – but none quite hit the topical shock value as much as one gag involving a prince sweating; and there’s the groaner jokes, the laugh out loud jokes and the saucy ones which fly straight over the kids heads nestled amongst the furore.

    Joanne Clifton plays on her Strictly status as the fairy godmother. TV’s Mister Maker (looking surprisingly like Robbie Williams) keeps the kids happy, and even Paul O’Grady makes a surprise appearance as fairy. Need we say more? Still not convinced? How about throwing in a young Zac Efron looking Prince Charming and a handful of handsome backing dancers to add to the camptastic value of it all?

    There is a host of musical numbers scattered around the production, this year including songs from other musicals such as The Greatest Showman and Everybody’s Talking about Jamie; whilst a smattering of pop songs (Ed Sheeran, Adele and Beyoncé) all add to the fun. We’d be lying if we said that there wasn’t any screaming kids at the show, but, hey, that is all part of it; and if you let yourself get carried away in the spirit of things, you’ll soon be shouting out, groaning, booing, singing and laughing out loud along with the best of them.

    It’s loud, bold, crass and kitsch, and it is difficult to know who enjoyed themselves more – my 11 year old nephew, or me; but either way, we had an absolute blast, leaving the theatre with a massive grin, with sides aching from laughter and with the firm opinion that panto is not just for kids.  

    Cinderella is playing at Sheffield Theatres until 5th January 2020; but check out your local theatre website and see who starring near you.

  • THEATRE REVIEW | Mowtown The Musical – National Tour

    THEATRE REVIEW | Mowtown The Musical – National Tour

    ★★★ | Mowtown The Musical

    After borrowing $800 from his family, Berry Gordy bought a small house in suburban Detroit, built a recording studio and laid the foundation for one of the most successful record labels of all time. Boasting Diana Ross, Lionel Richie, The Jackson 5, Smokey Robinson and Marvin Gaye, amongst others, Motown records grew to be a phenomenon. Featuring songs including ‘Aint No Mountain High Enough, I Heard It Through the Grapevine, My Girl, Dancing In The Street and Signed, Sealed, Delivered, Motown The Musical delves into the story of the label including its meteoric rise and its troubles as the hits dried up.

    The show is punchy and well-paced, moving along at breakneck speed through the label’s back catalogue set against a backdrop of both the rags to riches story of Berry Gordy and the recent social and political history of America. At a time when race riots, the assassination of JFK and Vietnam were at the forefront of the American consciousness, Gordy simply wanted to unify people with his music. The show presents a rather sanitised version of the record label’s history, and touches on Gordy’s relationship with Diana Ross and on his management of some of the biggest names in music. But it is the music which is the major draw here, and it doesn’t disappoint.

    Edward Baruwa steps into the shoes of Gordy remarkably well, and has a soulful voice and a natural charisma, holding the show together with his almost constant on stage presence. Olivia Hibbert does a fine impression of Diana Ross, and Daniel Haswell stands out amongst the large ensemble with his performance as Stevie Wonder. The production is incredibly slick, with vivid colours, stunning costumes and an incredibly effective use of projected backdrops which is superb as it transports the audience from scene to scene.

    It is difficult to deny the legacy of what Gordy created; the songs remain absolute classics, the artists are legends and the music lives on. Cramming such a sprawling tale into a two and half hour show is a challenge, but by keeping it relatively light and focussing on the music, Motown The Musical is ultimately a feel-good celebration of some of the biggest songs ever recorded.

    Motown The Musical is at Sheffield Theatres until 30th November 2019 before continuing its national tour.

  • THEATRE REVIEW | Joseph and the Amazing Technicolour Dreamcoat – National Tour

    THEATRE REVIEW | Joseph and the Amazing Technicolour Dreamcoat – National Tour

    ★★★ | Joseph and the Amazing Technicolour Dreamcoat – National Tour

    Andrew Lloyd-Webber’s well-loved family musical tells the biblical story of Joseph and his eleven brothers. Joseph is favoured by his father and is given a Technicolor coat, which causes his brothers to become so jealous of his favourable treatment that they take him into the desert to kill him. But seizing an unexpected opportunity to make some money, the brothers sell him into slavery instead and Joseph is taken to Egypt where his ability to interpret dreams is put to good use by the Pharaoh.

    The two hour show is jam packed full of songs that you can’t help but know the words to, including “Any Dream Will Do”, “One More Angel In Heaven” and “Close Every Door”. Visually, the show was vibrant, colourful, full of an enthusiastic and energetic cast and some enjoyable choreography.

    Jaymi Hensley (Union J, X-Factor) stars in his first major musical role and provides a mixed performance, sounding wonderful belting out the songs at some points in the show, but completely over-doing the forced and unnecessary vocal gymnastics and operatic trills at others.

    Production wise, as expected, the costumes, set and a particularly effective lighting design were all awash with a variety of colours, and the whole thing came across as a fun and lively production which was professionally put together. Despite being first performed in the late sixties, the music still retains a fresh feel, with an eclectic mix of musical styles, from Country to Rock n Roll, and from Calypso to a parody of French Ballads.

    Overall, Joseph is an evening of pleasant and undemanding entertainment which delivers on many levels, particularly in terms of production, but also in terms of nostalgia (most people of a certain age will remember doing this show as their school play). It’s great family entertainment and is ultimately enjoyable, if fairly cheesy, fun.

    Joseph is currently at Sheffield Theatres until 9th November 2019 before continuing on its national tour

  • THEATRE REVIEW | On Your Feet – National Tour

    THEATRE REVIEW | On Your Feet – National Tour

    ★★★ | On Your Feet, Sheffield

    (C) PR SUPPLIED

    Tracing her rise from Cuban immigrant to global superstar, On Your Feet tells the story of Gloria Estafan and the Miami Sound Machine.

    From humble beginnings, the group went on to sell over 100 million records, albeit not without struggling to bring their fusion of Latin beats and Pop to the charts. But the American dream turns sour when at the height of her fame, tragedy hits the family.

    You might think that Gloria Estafan’s life was not really eventful enough to carry the narrative of a two-hour show, and, well, you may be right.

    There is very little in this musical biopic that hasn’t been seen before. The show feels a little self-indulgent at times, only ever skimming the surface of Estafan’s life and there are no huge revelations. The story ambles along without really getting very far in act one; and despite the narrative thickening out a little during act two, it remains a rather superficial look at her life.

    Narrative aside and despite a rather lacklustre set, this is a big production with a quality feel, an excellent lighting design taking us from the heat of the Cuban sun to packed out stadiums, some stunningly beautiful costumes, a stage full of actors and a superb live band on stage. Francesca Lara Gordon plays Gloria Estafan as a sassy, headstrong and determined woman, and had a voice enabling her to belt out the pop tunes and softly sing the slower numbers; and there was a tangible chemistry between her and George Ioannides as Emilio Estafan.

    With a good mix of ballads, upbeat pop and Latin American music, the show bursts into life during the musical numbers which are filled with passion and energy. With infectious Latin rhythms and dance routines that positively sizzle, outstanding choreography and an ensemble cast as hot as the Miami sun, the show really does impress during these moments and proves to be utterly irresistible.

    On Your Feet is a musical biopic with the emphasis firmly on the music rather than the biopic, and provides a couple of hours of foot-tapping, feel-good fun.

    On Your feet is at Sheffield Theatres until 19th October 2019, before continuing on its national tour.

  • THEATRE REVIEW | We Will Rock You, National Tour

    THEATRE REVIEW | We Will Rock You, National Tour

    ★★★ |We Will Rock You, National Tour

    WE WILL ROCK YOU by Elton, , Writer and Director – Ben Elton, Set Designer – Mark Fisher, Costume Designer – Tim Goodchild, Lighting designer – Willie Williams, Churchill Theatre, Bromley, UK, 2019, Credit: Johan Persson

    Set in a distant, dystopian future where musical instruments and composers are banned, where generic pop music is imposed on the public and rock music is all but unknown, a small group of “Bohemians” struggle to restore the idea of thought, fashion and, most importantly, rock music as they break free of the grip of the Killer Queen.

    Seventeen years after it opened, this theatrical juggernaut heads out on a theatre tour bringing with it some of Queen’s most iconic songs. The show is a full-on assault to the senses, with a set made up of giant screens displaying animated, projected backdrops, a colourful array of costumes and music and vocals so loud that the bass reverberates in your chest.

    During the first act, the songs come thick and fast, with the wafer-thin plot serving little more purpose other than linking one song to the next, but the second act yields a little more to the rather silly narrative whilst still packing in enough hits to keep you entertained.

    Such big songs require big voices and the two leads, Ian McIntosh and Elena Skye can certainly belt out the tunes, giving solid vocal performances; whilst audience favourite Michael McKell provided some excellent comic relief throughout.

    But the real stars here are the songs, and the show packs in all the Queen hits you are expecting. Despite a plot which is utter nonsense, We Will Rock You will have you rocking your way out of the theatre.

    We Will Rock You is currently at Sheffield Theatres before continuing on its national tour.

  • Theatre Review | Avenue Q – National Tour

    Theatre Review | Avenue Q – National Tour

    ★★★★ | Avenue Q, National Tour

    Fresh out of college, looking for somewhere to live and clutching his useless degree, Princeton arrives on Avenue Q, where he meets affable (if lazy) Nicky, his closeted gay roommate, Rod, and Kate, a nursery teacher with big ambitions. The gang try and navigate the trials and tribulations of life, whilst discovering what the internet is really for, why taking a date to a strip club is a bad idea (especially on a school night) and why you should never throw a coin off the top of the Empire State Building.

    At one point in the story, Rod settles in to read his favourite book, Broadway Musicals of the 1940’s, and if you part the fur on this show a little, you will find that underneath it all, Avenue Q is very much a traditional musical at heart, with a will they/wont they love story, a sultry love rival and some ups and downs along the way. One of its particular strengths is in its beautifully crafted musical numbers, which flip between a good excuse for a laugh (The Internet is for Porn) and sweeping songs which progress the narrative (There’s a Fine, Fine Line).

    The script remains sharp and funny, with a rapid fire delivery of gags, and a story which nestles a number of social issues into the comedy without ever preaching. Rod struggles to come out of the closet, and his ode to his best friend (and secret crush) is filled with sadness. Princeton is a little lost in life, Kate feels that she is destined for bigger things and the perverted Trekkie Monster spends his day, shall we say, (ahem) socially isolated.

    With many of the cast playing multiple roles, Tom Steedon steals most of the laughs as Trekkie Monster and Nicky; whilst Cecily Redman belts out the musical numbers with a stirring voice; and the cast effortlessly bring the puppets to life, to the point where you find yourself more focussed on the puppets than the actors.

    If you have ever wondered what an adult version of Sesame Street might look like, then Avenue Q has the answer. The show remains laugh out loud funny, with some close to the knuckle humour which perfectly blends comedy with poignancy to leave you feeling warm and fuzzy inside.

    Avenue Q is at Sheffield Theatres until 3rd August 2019 before continuing on its national tour