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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 | Saturday Night Fever – National Tour

    THEATRE REVIEW | Saturday Night Fever – National Tour

    ★★★☆☆ | Saturday Night Fever – National Tour

    Stuck in a dead end job and in a deadbeat family, Tony Manero escapes the dull routine of his life by gathering the adoration of the crown as he struts his stuff on the dance floors of Brooklyn’s discos. But whilst practising with new dance partner, Stephanie Mana, his eyes are opened up to a world beyond the Brooklyn Bridge, and Tony slowly realises that his life has to change.

    Richard Winsor (Casualty) is affable enough as Tony Manero and is well matched by Kate Parr as Stephanie, whilst the ensemble cast fills the stage and brims with energy and enthusiasm during the dance numbers.

    Overall, the production has its faults. The set intrudes on stage leaving little room for the cast; the second act is narrative heavy with a storyline which all gets rather gloomy, the rapid flicking between brief scenes made the proceedings feel disjointed and the faux Brooklyn accents made the script difficult to decipher at times.

    But as you would expect, where this show comes alive is in the disco scenes, and these sections of the show are vibrant, colourful and full of life; and as they explode onto the stage they are a pure joy to watch. Featuring a soundtrack which defined a generation, the live band and singers were one of the show’s strongest features, as they brilliantly captured the look, sound, feel and falsetto harmonies of the Bee Gee’s, and belted out a string of songs which are deeply embedded in popular culture, including ‘Stayin’ Alive’, ‘Jive Talkin’’, ‘If I Can’t Have You’ and ‘How Deep Is Your Love’.

    Overall, Saturday Night Fever is a bit of a mixed bag, albeit one which is lifted by its strong and infectious musical numbers, the enthusiasm of the cast and a heavy dose of nostalgia.

    Saturday Night Fever is currently at Sheffield Theatres until Saturday 2nd March 2019 before continuing on its national tour. 

  • THEATRE REVIEW | The Rocky Horror Show – National Tour 2019

    THEATRE REVIEW | The Rocky Horror Show – National Tour 2019

    ★★★★★ | The Rocky Horror Show

    Nearly 45 years on from its debut, Richard O’Brien’s cult musical needs very little introduction. The show follows Brad and Janet, two 50’s Americana sweethearts who stumble upon the castle of Frank-N-Furter; a cross dressing scientist cum force of nature, on the evening that he is to bring his Frankenstein-esque playmate to life.

    As a musical it remains larger than life; and like Frank’s creation himself, the show has taken on a life of its own. With its affectionate nod to the B-Movie science fiction genre of the 50’s, it’s cult following is unparalleled and its fans amongst the most fiercely loyal you will find.

    The role of Frank-N-Furter is so iconic, that you need a larger than life personality to fill the fishnets, and Stephen Webb does a great job blending Frank’s camptastic alluring persona whilst maintaining an underlying gruffness to his vocal performance, along with Philip Franks as the narrator, brilliantly trading quips with the audience. But to be fair, you would be hard pressed to find a weak link within the cast in this top-notch production.

    Rocky Horror is presented here in all its gloriously loud, brash, colourful, neon day-glo garishness, with a set which looks luxurious and holds an almost cartoon-like feel to it; all accompanied by an excellent lighting design by Nick Richings which flooded the stage in reds, greens and purples, and some steady direction by Christopher Luscombe.

    Rocky Horror is a phenomenon, and the atmosphere at any Rocky Horror performance is one which has to be experienced. This production provides a fresh feel to a classic show and one which engages the audience like no other. So pull on your fishnet stockings, warm up your vocal cords, leave your inhibitions in the foyer and go and “give yourself over to absolute pleasure”.

    Rocky Horror is at the Sheffield Lyceum until Saturday 23rd February 2019, before continuing on its national tour. For details visit the show’s official website.

  • Theatre Review | Benidorm Live – Sheffield Lyceum and National Tour

    ★★★★☆ | Benidorm Live

    Based on the hit TV show, Benidorm Live brings the Solana Hotel, its staff and guests to life in this raucous comedy.  Picking up from the end of the most recent series, The Solana is at risk of takeover from a large hotel chain, and corporate inspectors are rumoured to be masquerading as guests. Intending to bribe the inspectors, the staff to scurry round trying to butter up the seemingly out of place couple who have just arrived at the hotel; as mistaken identities, unrequited love and a cringe-worthy cabaret all combine to try and keep the hotel open.

    Stealing every scene with a deadpan delivery of her innuendo filled lines was Janine Duvitski, as elderly swinger Jaqueline, eliciting the largest laughs with double ententres which would make a sailor blush and a cocktail menu which may put you off drink for life. Tony Maudsley ramps up the camp as Kenneth, “tasteful” t-shirt wearer and the manager of the Blow and Go hair salon, who is hotly and relentlessly pursued by Gay Derek (an excellent Damien Williams). Added into the mix are TV regulars Adam Gillen (Liam), Sherrie Hewson (Joyce Temple Savage), Shelly Longworth (Sam) and Jake Canuso as the resident lothario barman, Mateo.

    Having never seen an episode of Benidorm, it was with some trepidation that I approached the stage show, thinking that I would be a lone island in a sea of people who were “in on the joke”, but that certainly wasn’t the case. Benidorm Live will utterly delight fans of the TV series, and will certainly win over some new ones.

    With with a feel good factor as warm as the Benidorm sun itself, close to the bone comedy which had me giggling like a schoolboy one minute and laughing out loud the next and a smattering of (intentionally cheesy) musical numbers, Benidorm proved to be the perfect, and incredibly funny, antidote to the January blues.

    Benidorm Live is at Sheffield Theatres until 26th January 2019 before continuing on its national tour.

  • THEATRE REVIEW | Moscow City Ballet’s The Sleeping Beauty, Sheffield

    ★★★☆☆ | Moscow City Ballet’s The Sleeping Beauty

    Set to the music of Tchaikovsky, and recounting the fairy tale of The Sleeping Beauty; Moscow City Ballet return with one of their better presented, yet staunchly traditional ballets; as Princess Aurora is cursed by the evil fairy, Carabosse, and sleeps for 100 years until she is awoken by the kiss of a prince.

    Of the various ballets in Moscow City Ballet’s repertoire, this is perhaps one of the better presented pieces. With its feet planted very much in the traditional tights and tutu’s style ballet, this production lacks the dramatic flair of Matthew Bourne’s New Adventures; and doesn’t have the detailed narrative of Northern Ballet; but does offer a timeless take on a classic ballet which is used to showcase the dancer’s skills and talents, rather than deliver an exhilarating narrative or flashy visuals.

    With some impressive costumes and utilising a static set of backdrops to create a workable dance space, there were times when the ballet sparkled and really came alive, especially during the ensemble pieces and, in particular, in the opening scenes of Act 2, which were quite charming. But despite the technical ability of the dancers, the choreography felt rather lacklustre at times, especially towards the end of the third act where it all became rather repetitive. Compounding that, there appeared to be little connection between the characters on stage, with the dancers performing with fixed grins whilst staring out into the middle distance, and not really looking as if they were enjoying themselves at all.

    Sleeping Beauty is a mixed production. When it is at its height, it has genuine charm; but does have a few lulls in the pacing of the production, especially as it tails off towards its conclusion. But that said, it has some technically excellent performances from the company and is about as traditional as they come.

    If you are looking for an accessible, straight forward evening of ballet which showcases the skill and suppleness of these talented individuals, then this may well be the production for you.

    Moscow City Ballet are at Sheffield Theatres until 12th January 2019 before continuing on their national tour showcasing four ballets, Swan lake, The Nutcracker, The Sleeping Beauty and Romeo & Juliet. Details can be found on their website.

  • Theatre Review | Kiss Me, Kate – Crucible Theatre

    ★★★★☆ | Kiss Me, Kate – Crucible Theatre

    Written by Cole Porter in the 1940’s, Kiss Me, Kate is a delightful, old-fashioned musical, combining the classic elements of mistaken identity, a will they/won’t they love story, a bit of swindling and a bunch of likeable characters all interwoven with an appealing collection of songs by one of the best composers of the era.

    Porter’s tale stages a play within a play, telling the story of Fred Graham, an actor and director who casts his ex-wife as his co-star; and finds himself in hot water when one of his other leading men signs off a gambling debt in his name. He tries desperately to keep his musical production of The Taming Of The Shrew on track, as a couple of inept gangsters show up to collect the debt and Grahams relationship with his ex-wife sways between love and hate. But as everything falls apart and the backstage bickering starts to mirror the story on stage, Graham does everything he can in ensuring that the show must go on.

    The songs from Kiss Me, Kate are some of Porter’s most sterling work, with an overarching jazzy vibe which made the musical numbers delightfully catchy. The songs still sparkle and fizz with wit and humour, and there is a show-stopping number at the opening of each act. “Another Openin’, Another Show”, “Tom, Dick or Harry” and “Too Darn Hot” were all proper toe-tappers, and the multiple reprises of “Brush Up Your Shakespeare” were delightfully laughter inducing.

    Edward Baker Duly and Rebecca Lock were superb as the quibbling couple, whilst Dex Lee was criminally underused as Bill and his triple threat status certainly makes him one to watch; but stealing most of their scenes were Delroy Atkinson and Joel Montague as the ham-fisted mobsters. Paul Foster directs with a steady hand, whilst Strictly choreographer Matt Flint keeps the musical numbers light and fun. Only the costume and set design let the show down slightly, with too much of a cartoonish feel to both to really work.

    Kiss Me, Kate is firmly established as a classic, traditional musical and this is a fun, frenetic and frivolous production which, as a sucker for an old-fashioned musical, I found very hard to resist.

    Kiss Me, Kate is at the Crucible Theatre, Sheffield until 12th January 2018. Visit their website at www.sheffieldtheatres.co.uk for details and tickets.

  • Theatre Review | Fame – National Tour

    ★★★ | Fame – National Tour

     

    Based on the film and classic TV series, Fame follows the trials and tribulations of a group of young students studying at the New York School of Performing Arts as they hone their skills in music, dance and acting, as well as falling in love, clashing with the establishment, battling personal demons and dabbling in the dark side of fame. The show follows a small group of students from the first meeting to graduation, looking at the challenges they face in their academic studies, their artistic studies and their personal lives. Issues such as drug use, unrequited love and illiteracy are all canvassed as the friends make their way through their time at school.

    Despite its 1980’s setting, the show looked and sounded bang up to date. The variety of musical styles and the vocal gymnastics reflected the modern style and the dance routines covered a wide variety of styles, from hip-hop and street dancing to classical ballet and even a flamenco-inspired number.

    The show boasts around 20 songs which flow in rapid succession giving the show more of a feel of a musical revue than a piece of musical theatre. The opening number “Pray I Make/Hard Work” set the tone of the show nicely and was modern and contemporary.  “Tyrone’s Rap” and “Dancin’ on the Sidewalk” were up-tempo numbers, both of which were infused with a display of hip-hop and street dancing. But the standout song was saved for the finale, with “Bring on Tomorrow” being a traditional rousing conclusion to the proceedings which was well performed by the ensemble.

    Fame is currently on National Tour. 

  • THEATRE REVIEW | Cilla The Musical

    ★★★☆☆ | Cilla, The Musical

    Cilla The Musical is a new musical biopic which tells the story of one of the nation’s best-loved singer turned television personalities, following the star’s journey from humble beginnings as a teenager in the Cavern Club (singing with The Beatles) through to her number one hits and her attempts to crack the American market. Cilla’s backstory lacks the dramatics and off stage histrionics of other stars of the era, such as Dusty Springfield, meaning that the show only broadly addresses her rise to fame; but instead focuses more on her relationships with those around her, and primarily her two managers, Brian Epstein and her self-appointed manager-come-boyfriend, Bobby Willis.

    Kara Lily Hayworth appeals in the lead role as Cilla, and effortlessly nails the two big numbers in the production; ‘Anyone Who Had A Heart’ and ‘You’re My World’ with a beautiful singing voice that I could have happily listened to all evening. Nestling amongst Cilla’s hits, the score features a great selection of other songs from the era, such as ‘California Dreaming’, ‘Dancing In The Street’ and ‘Twist and Shout’, which when coupled with the costumes and set provide a real feel of the swinging sixties.

    Overall, Cilla is a musical biopic by numbers, with the rise to fame; the self-doubt and the love story all playing their part. The stage direction is lacking at times; and there are no major revelations about the artist’s life in the story, meaning that audiences will come away without much more of an insight into her life than they went in with; but what Cilla The Musical does offer is some solid performances, some of her greatest hits, a nostalgic feel, a vibrant and colourful second act, a smattering of classics sixties songs, a satisfying musical-medley finale and a production which is ultimately enjoyable, feel-good and exceeds expectations.

    Cilla is currently on a national tour and details can be found on the show’s website. Thank you to Sheffield Theatres for facilitating the review.

     

  • THEATRE REVIEW | Flashdance The Musical, National Tour

    ★★☆☆☆ | Flashdance The Musical

    Back in the 80’s, movie musicals such as Fame and Footloose blazed a trail across cinema screens and into the hearts of foot tapping teens everywhere. But nestled between the two was Flashdance, the story of Alex – a welder by day and a club dancer at night, with a dream to make it into a prestigious to dance school. Now fully embedded in popular culture, being mimicked by Geri Halliwell and Comic Relief; and even making an appearance in The Full Monty, Flashdance now takes to the stage with Strictly Come Dancing’s Joanne Clifton.

    Based incredibly loosely on the film, the stage show waters down the story of the gritty welder and her struggles to make it, and provides a fairly sanitised version of the story, with plenty of nods to the film, but placing the emphasis on different aspects of the story. The show retains a handful of songs from the film’s soundtrack, including “Maniac”, “Gloria” and “Flashdance (What a Feeling)”; but packs them in tightly with a high number of original songs which are functional, but not particularly memorable.

    Filled with an abundance of day-glow, colourful neon, the show is little more than an excuse for some vibrant dance numbers, nowhere more alive than in Demmileigh Foster’s show-stealing rendition of “I Love Rock ‘n’ Roll”, and in the rather upbeat closing medley. Joanne Clifton shows that she can sing as well as dance, and Colin Kiyani was perfectly affable as Nick, Alex’s boss and boyfriend.

    Those wanting a theatrical version of the film (akin to the Dirty Dancing musical) won’t get that here, given the light plot, two dimensional characters and a rather lacklustre script; but this story is really a wraparound device to tie together the musical numbers of which there are plenty; with a few good set pieces and a feel-good ending to be had.

    Flashdance the Musical is at Sheffield Theatres until Saturday 11th August 2018 before continuing on its national tour.

  • THEATRE REVIEW | Thriller Live! – Sheffield Theatres

    ★★★☆☆ | Thriller Live!

    Celebrating the music, dancing and performances of the entertainer, Thriller Live is a whistle-stop tour of Michael Jackson’s greatest hits, rolled into a relentless package of iconic dance moves, legendary performances and classic songs.

    From his early days in Mowtown, through the Jackson 5 years and onto his solo success, the show features a quartet of singers who perform against a backdrop of spectacular choreography which is performed with unyielding vigour and energetic enthusiasm by the vivacious cast of dancers who fill the stage; accompanied by a talented bunch of musicians in the live band.

    Cleverly taking the routines, or snippets of them, highlights included music video recreations of ‘Smooth Criminal’ and ‘Thriller’, great renditions of ‘Man in the Mirror’ and ‘I Just Can’t Stop Loving You’ and some tracks you wouldn’t immediately associate with Michael Jackson, including ‘Dangerous’ and ‘This Place Hotel’.

    Despite the vocals not being of the highest order, some forced audience participation and a couple of songs descending into an overblown mess, there is still plenty of enjoyment to be found here. Regardless of the controversy surrounding his life, Michael Jackson’s enduring appeal undoubtedly remains, especially if the shouts, whoops and cheers from the audience were anything to go by.

    Whilst musical revues can often come across as sycophantic, Thriller Live manages to sidestep being the gushing praise-fest that it could be, and instead allows the party atmosphere, music, songs and dance routines to speak for themselves in an undemanding evening of foot tapping, high end cabaret.

    Thriller Live is rounding off its national tour at Sheffield Lyceum Theatre until 21st July 2018, but you can still catch the show in the West End.

  • Disgraced MP Jared O’Mara quits Labour following on from exposed homophobic comments

    Apparently, Jared O’Mara was made to feel like a criminal during the probe into his historic online comments.

    Labour MP Jared O’Mara has quit the party after being reinstated following a suspension while historic homophobic and misogynistic online comments were investigated.

    The MP was suspended but was to be reinstated. He has now quit the party, saying “I am of the opinion that the Labour Party no longer shares my commitment to the true definition of equality and compassion,” he said.

    “There is no doubt that I made mistakes as a young man using distasteful language as a clumsy attempt at satire and sarcasm online. But that does not mean that is who I am today.”

    However, he seemed to suggest that he won’t be stepping down as an MP.

    He said, “I might be leaving Labour but I am still at your side”,

    Identifying himself as “the first autistic MP in our history”, he wrote: “I didn’t commit any crimes, yet I have been made unfairly to feel like a criminal.

    “Nobody should be made to feel ashamed for mistakes they make when they are young.”

    He added: “I would be lying to those of you whom I represent, and those close to me like my parents and sister respectively, if I continued under the pretence that I feel there is a place of acceptance and empathy for me as a working-class, underprivileged disabled man within the Labour Party.

    “I have experienced little to make me feel welcome, understood and accepted during this last year.”

  • Theatre Review | Jersey Boys, Sheffield Lyceum

    ★★★☆☆ | Jersey Boys, Sheffield Lyceum Theatre

    From the streets of Brooklyn to the height of fame, Jersey Boys tells the story of Frankie Valli and the Four Seasons, their musical legacy, including Big Girls Don’t Cry, Walk Like A Man, Can’t Take My Eyes off You  and Working My Way Back To You is showcased in this musical biopic.

    Rising from humble beginnings to major success, the boys bond, bicker and battle their way to becoming one of the most successful groups of their generation; but their success comes with a background of prison time, heartbreak, family problems and the testing of loyalty.

    With a number of musical biopics doing the rounds, what makes Jersey Boys stand out from the crowd is that it not only has an interesting story, but it boasts a narrative which doesn’t shy away from the darker moments of the group’s story; and all of this is neatly packaged into a show which is surprisingly fast paced and has a slick and polished production. But the story has heart, and underneath the sequined jackets and the boys’ bravado is a story about friendship, loyalty and about making those around you your family.

    What leads this tour to stand out from previous tours is the excellent on-stage chemistry between the four leads. Their harmonies are excellent, their timing impeccable and their dance moves simple but tightly performed. Michael Watson as Frankie Valli hits his falsetto highs with ease, whilst Simon Bailey steals the show as the motormouth Tommy Devito, filling his character with a cocksure swagger and an overconfident arrogance; which is nicely juxtaposed by  Lewis Griffith’s subtle underplaying of the role of Nick Massi.

    Whilst the music takes centre stage, and the 33 musical numbers come thick and fast, the attention to detail stands out. The supporting cast, the costumes, the trademark choreography, the lighting and the live orchestra all added to the rounded production values of the show. Despite its gritty backstory, the show remains a foot stomping, singalong, feel-good affair, which encapsulates the spirit of the group and effortlessly brings the audience to their feet as the curtain falls.

    Jersey Boys is playing at the Sheffield Lyceum Theatre until the 30th June 2018 before continuing on its national tour.