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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 | The Wizard of Oz – Crucible Theatre, Sheffield

    THEATRE REVIEW | The Wizard of Oz – Crucible Theatre, Sheffield

    ★★★★| This Christmas, Sheffield Theatres whisks you off to the Land of Oz, to join Dorothy, a Kansas farm girl, who follows the yellow brick road to the Emerald City to find the great and powerful Wizard of Oz. On the way, she is joined by the scarecrow, the tin man and a cowardly lion, all of whom have something to ask the Wizard themselves. But the four of them are pursued the Wicked Witch of the West, and Dorothy soon comes to realise that there is no place like home.  

    Photo Credit: Johan Persson

    The Wizard of Oz needs very little introduction, and has been embraced by the gay community for many years – after all, with anything that is the source of the phrase “friend of Dorothy”, you can expect high camp and an iconic gay status.

    The four main leads fill their characters with charm, in particular Max Parker as the Tinman, who brings a great singing voice and some nifty robotic steps to the stage. Andrew Langtree’s scarecrow is wonderfully reminiscent of a rag doll and Jonathan Broadbent’s Lion adds much of the comedic element. Gabrielle Brooks portrays Dorothy with innocence and wide-eyed wonder, although she did sometimes get a little lost amongst her more boisterous on stage travelling companions. But the real testament to her performance was her beautifully sung version of Over the Rainbow, with Brooks nailing the iconic moment with ease. Toto was portrayed by both a scene stealing puppy in Kansas and as a brilliantly performed puppet skilfully (and convincingly) operated by Rhiannon Wallace in Oz, helping to establish that the girl in gingham certainly wasn’t in Kansas anymore.

    The production as a whole is beautifully done, in particular, Janet Bird’s set design is ingenious, and the transformation from Kansas to Oz is an unexpected delight. The stage is illuminated underfoot to form the yellow brick road, and everything from a large multi-purpose ensemble to puppetry to practical effects are used to great effect to bring the Land of Oz to life. Add to that a lighting design which is colourful, vivid and incredibly well thought out and some stunning costumes and you have a production which is a visual treat.

    The majority of issues with the Wizard of Oz are primarily down to the book, rather than this production. The show itself takes a while to hit its stride, but then, so did the film; and once Dorothy starts to meet her travelling companions, the momentum starts to build, yielding to a much better second act. There were times when the show encroached into pantomime territory on occasions and the Wicked Witch was not particularly menacing, although this was more likely due to being toned down for a family audience rather than Catrin Aaron’s performance or ability. For a musical, the show is also relatively light on musical numbers, with only a handful of songs, but director Robert Hastie makes the most of them, especially in the rather jaunty opening to the second act.

    With its high camp value and its snappy presentation, Sheffield Theatre’s production is light, airy and so colourful that rather than being taken over the rainbow, you are placed slap bang in the middle of it.

    The Wizard of Oz plays at Sheffield Theatres until 20th January 2018, alongside their pantomime, Mother Goose playing until 7th January 2018 and their interactive production Rent Party until 23rd December 2017. Visit www.sheffieldtheatres.co.uk for details and tickets.

     

  • THEATRE REVIEW | The Kite Runner, Sheffield Theatres

    ★★★ | The Kite Runner 

    THEATRE REVIEW | The Kite Runner, Sheffield Theatres

    Set against the historical backdrop of social and political change in Afghanistan, The Kite Runner tells the story of Amir and Hassan, who are best friends despite their difference in religion, class and social standing. The pair are inseparable, until Amir stands by as a shocking event tears apart their world and their friendship. But as the years pass, Amir has the opportunity to redeem himself and redress his guilt in a way which he would have never imagined possible.

    The play is based on the best-selling book by Khaled Hosseini and is a heart-breaking tale of friendship, betrayal, divided loyalties, family acceptance and social pressure. It also touches on themes of culture, religion, terrorism and of the life experienced by a country faced with invasion, dictatorship and war. Whilst the central the themes are numerous and remain relevant, the staging is stripped back and straightforward; and the whole show is presented with no fuss or spectacle, which allows the writing, script and narrative to shine through. The play’s strength lies in its flowing language which reflects the source material and, as you listen to the actors, you feel like you are reading a book. The addition of traditional Afghan instruments providing an atmospheric, minimalist soundtrack which enhances the uncluttered approach and provides a real atmosphere to the proceedings.

    In terms of performances, David Ahmad was broadly engaging in his performance as the narrator and protagonist, Amir, although never fully convinced in terms of his emotions; whilst Jo Ben Ayed provided a subtle turn as the meek and withdrawn Hassan. Standing out from the ensemble cast was Emilio Doorgasingh as Baba, Amir’s father, with a commanding and intimidating stage presence befitting of his character.

    It is an ambitious play which encompasses many themes and many key aspects of the character’s lives over a number of years, meaning that there is a lot to get through, and the second act does feel slightly crammed and borders on being a little overlong towards the end; but the story overall remains absorbing and holds the attention.

    The Kite Runner is a visually restrained production which provides for a thought-provoking, relevant and touching story which carries with it a lot of emotion.

    The Kite Runner is at Sheffield Theatres until 21st October 2017 before continuing on its national tour.

  • THEATRE REVIEW | The Wedding Singer, Sheffield Lyceum Theatre

    ★★ | The Wedding Singer, Sheffield Lyceum Theatre 

    THEATRE REVIEW | The Wedding Singer, Sheffield Lyceum Theatre

    Robbie Hart is a popular wedding singer who has his belief in love shattered when he is jilted at the alter by his fiancé. But as he has promised to sing at the wedding of affable waitress Julia to her sleazy, materialistic boyfriend, Glenn, he spends his time helping her prepare for her big day. But amongst the gift registry and dress shopping, the two of them slowly fall for each other, and as Julia’s big day approaches, will they both find the courage to tell each other how they feel?

    This 80’s set musical is based on the film of the same name and is packed with a full list of original songs, a smattering of ensemble pieces and a rapping granny. In terms of the cast, Ray Quinn (The X-Factor) stood head and shoulders amongst the performers, with a good performance as Glenn, whilst Cassie Compton (The X-Factor) and UK Eurovision singer Lucie Jones provided competent support and, to their credit, some superb singing.

    But aside from a handful of good performances, sadly, the whole thing just simply didn’t hang together. The onslaught of songs became intrusive to the progression of the narrative, the clunky and cumbersome set changes interrupted the flow and the show overall fell somewhere between lacklustre and dull. Add into that an incredibly cringe worthy seduction scene between Robbie and his ex-fiancé, a significant lack of chemistry between the two leads and some borderline offensive stereotypes of gay men which felt more like ridicule than parody and you have a rather disappointing production.

    But where the show really lets itself down is in its lack of an 80’s feel, especially given that the decade is ripe for the picking in terms of its cultural identity.  Part of the charm of the film that the show is based on is its nods to the decade, from the fashions to the music; something that is noticeably missing from this show. It takes more than a randomly placed Rubiks Cube, a Sony Walkman and a reference to the size of a mobile phone to set the 80’s scene. But the biggest omission is that the original songs didn’t have even a tinge of 80’s synth pop to them and were so generic that, on the whole, they could have come from any musical set in any decade; whilst the costumes missed the opportunity to fully exploit the decade that fashion forgot.

    The show did finally come alive during the last scene and the curtain call, but it was far too little far too late, and couldn’t avoid the show receiving a rather muted reception from the generally unimpressed audience.

    The Wedding Singer is currently playing at Sheffield Lyceum Theatre until Saturday 22nd July 2017

     

  • THEATRE REVIEW | La Strada – Sheffield Theatres and London’s West End

    ★★★ |  La Strada – Sheffield Theatres and London’s West End

    Based on the film by Frederico Felini, La Strada is set in the heart of the Italian Countryside, and tells the story of the Gelsomina, who becomes the assistant to a travelling showman, Zampano, as they move from town to town trying to earn their keep. But things change when they join a travelling circus and they meet Il Matto, a clown, who teaches Gelsomina that there is more to life than her current existence and encourages her to find herself.

    La Strada is a show with a very European flavour and a real feel for the source material, being Fellini’s classic 1950’s Italian film. The music is a broadly uplifting fusion of gypsy, jazz and folk, providing a jaunty soundtrack which melts into the story rather than providing standalone moments, and whilst the show is billed as a musical, it would perhaps be better pitched as a drama with musical interludes.

    Overall, the show carried with it an impressive presentation. Sally Cookson’s direction is distinctive and stylish, with a slew of innovative theatrical techniques, carefully choreographed movement and almost constant activity on and around the stage. The set has a feeling of 1950’s European cinema, with its muted colour pallet and its use of shadows and silhouettes, and the provision of the on-stage musicians added a nice touch. Feeling almost cinematic in its staging, the show does has a certain magic about the way in which it presents itself.

    La Strada boasts a large international cast, led by Audrey Brisson and whilst the performances were functional, they never really excelled. The story is filled with pathos and it is bold in its attempt to portray what is effectively a road movie on a single, static set. The pacing of the show is very slow and the narrative is thin, almost only allowing the audience to glimpse snapshots of the character’s lives, rather than allow them to join them on their journey;  which is where the production struggled overall and where the emotional punch of Fellini’s film was somewhat lost

    La Strada is a show which is a luxurious, visual feast, but one which has a low-key narrative, and a steady pace; and is a more high-brow musical  for people seeking an alternative to the saccharine-coated West End extravaganzas or the traditional staples of musical theatre. It is very much style over substance, but may well reward the patient audience member.

    La Strada is currently at Sheffield Lyceum Theatres (www.sheffieldtheatres.co.uk) until 27th May 2017, before transferring to the West End, playing at The Other Palace in London from the 30th May to the 8th July 2017. Visit www.theotherpalace.co.uk/whats-on/la-strada for details.

     

  • THEATRE REVIEW | Jane Eyre – National Tour

    ★★★★ | Jane Eyre – National Tour

    Following being orphaned, Jane Eyre is placed in the ward of her cruel aunt, who favours her own children over Jane and eventually sends her to school, where Jane meets Helen, who teaches her that “there are no evil people, only evil deeds”. Growing into a strong, confident young woman, Eyre becomes a teacher and eventually a governess, and she takes employment at Thornfield Manor, where she meets and falls in love with Rochester, her employer. But Rochester is a deeply complex man who harbours dark secrets and carries with him the weight of a past which is about to come back to haunt him.

    Charlotte Bronte’s seminal work needs very little introduction and under the impressive direction of Sally Cookson, the story is beautifully brought to life in this National Theatre production, using a slew of innovative and varied theatrical techniques to provide a highly contemporary take on a classic tale. The set, consisting of a white curtained backdrop and multi-level wooden platforms accessed by a series of ladders and steps proves to be incredibly versatile and surprisingly effective in its portrayal of the various locations. The cast scramble over the set with energy and enthusiasm as they portray multiple characters meaning that there is an almost constant flow of movement on stage.  Simple props and a healthy dose of imagination on behalf of the audience provide for an effective, original and inventive presentation.

    Nadia Clifford’s portrayal of the titular character is one which is full of confidence, life and determination, and Tim Delap’s performance as Rochester compliments it well, with his aloof and brooding quirkiness. Overseeing events is Melanie Marshall, who observes and narrates key aspects of Eyre’s life with bursts of jazz infused song utilising her beautiful and distinctive voice. The remainder of the cast play numerous roles with clear demarcation between characters and, in the case of Paul Mundell, with a little humour injected into the proceedings.

    Quite what Bronte purists will make of the production is unknown, as, whilst the production sticks closely to the source material and lifts out text, passage and prose from it, this is not your run of the mill period costume drama. Instead, it is a refreshingly inventive, highly stylised and imaginatively presented piece which never loses the spirit of the novel, and which is as trailblazing and as forward thinking as the central character herself.

    Jane Eyre is on National Tour calling in at numerous venues including Leeds Grand Theatre, Belfast Opera House, Glasgow Theatre Royal, Cardiff Wales Millennium Centre, Milton Keynes Theatre, Norwich Theatre Royal and Brighton Theatre Royal and is currently booking until 23rd September 2017. Visit the National Theatre Website for details. Many thanks to Sheffield Theatres for facilitating this review.

     

  • THEATRE REVIEW | Everybody’s Talking About Jamie – Crucible Theatre, Sheffield

    THEATRE REVIEW | Everybody’s Talking About Jamie – Crucible Theatre, Sheffield

    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. ★★★★★

    © Johan Persson

    Writer Tom MacRae’s script is beautifully written, packing into it a wealth of instantly likeable and relatable characters, plenty of laugh out loud one liners and genuine heart. He gets the story across by celebrating the protagonist rather than victimising him and Jamie’s journey is well paced, moving and entertaining. Complementing the book perfectly are the musical numbers written by Dan Gillespie-Sells, which, quite honestly, doesn’t have a bad song amongst them. The show opens with “You Don’t Even Know It”, a bubbly piece of contemporary pop and each and every song that follows is a delight. Balancing out the upbeat numbers are some tender ballads, including “It Means Beautiful” and “My Man, My Son”, the latter quite literally bringing a tear to my eye. Kate Prince’s choreography fuses multiple styles of dance, from street dance to ballet, with energetic, fresh and uplifting routines, whilst Jonathan Butterall’s steady direction seamlessly blends comedy with pathos and makes the most of his well-rounded and diverse cast.

    With such well written characters, you need a solid cast to bring them to life. John McRea is delicious in his portrayal of Jamie, vacillating between oozing self-confidence and brimming with self-doubt, most of which was done whilst strutting around in a pair of heels so large that even RuPaul would shy away from them. Josie Walker gives a touchingly understated performance as Jamie’s Mum and belted out her two main numbers with a powerful voice which seemed to come out of nowhere; and she was complimented well by Mina Anwar’s comic performance as her best friend, Lee.

    Everybody’s Talking About Jamie is a coming of age story which is more reflective of today’s society than most of the genre. Gone is the stigma of sexuality, and gone is the major struggle for acceptance by his peers. Jamie is embraced by his supportive mother and loved by his friends at school. The story is more about Jamie’s internal struggle and his relationships with family, rather than it being “him against the world”. This refreshing approach makes for a more intimate and focussed narrative and one which genuinely pulls you in. It has been a while since I have seen an audience get so much behind a show, with cheers of support echoing around the theatre at key points in the story, which can only be a testament to the quality of the production.

    Everybody’s Talking About Jamie is everything a musical should be – well-crafted with instantly catchy songs, makes you laugh, cry and cheer and amounts to a thoroughly entertaining piece of theatre with a strong heart at its centre. Jamie is not to be missed, and is simply uplifting, joyous and inspirational.

    Everybody’s Talking About Jamie is currently playing at The Crucible Theatre, Sheffield until 25th February 2017. Visit www.sheffieldtheatres.co.uk or call the box office on 0114 249 6000

    https://soundcloud.com/user-872483887/sets/everybodys-talking-about-jamie

     

  • THEATRE REVIEW | Sister Act – Sheffield Theatres and National Tour

    THEATRE REVIEW | Sister Act – Sheffield Theatres and National Tour

    ★★★| When 70’s disco lounge singer Deloris Van Cartier witnesses Curtis, her married, crime-boss lover, murdering one of his cohorts; she is placed in witness protection in the last place on earth anyone would look for such a sassy little lady – a convent. Trying desperately to fit in, whilst doing nothing but standing out, she is assigned to take over the choir, whose screeching vocals are enough to curl your wimple. But as the singer tunes up the choir, Curits finds out where Deloris is, and sets out to make sure she doesn’t testify against him.

    Picture Credit – Curve Theatre PR Supplied

     

    Featuring the songs “Raise Your Voice”, “Take Me To Heaven”, “Fabulous Baby” and “Spread the Love Around”, Sister Act is a fun, spirited and vivacious show with very catchy songs, warm characters and a spring in its step. With a large, static set and a vibrant lighting design by Liam Jones, the production is bolstered by the presence of Alexandra Burke who, to her credit, could certainly belt out the big numbers. There was some very able (and tuneful) support from Joe Vetch as Detective “Sweaty” Eddie Souther, and a real smooth criminal in Aaron Lee Lambert as Curtis, the Shaft influenced, soul styled bad guy. Throw into the mix some enjoyable physical comedy from Curtis’s cronies, and you have the basis of a good show.

    But with every heavenly blessing, there are some sins to atone for, as Craig Revel Horwood’s direction doesn’t quite hit its stride, with a heavy reliance on over-exaggeration of movement and gurning facial expressions; which meant that instead of the comedy flowing naturally from the effervescent script, it felt somewhat forced. The inclusion of musical instruments being played by the cast on stage worked in parts, but served as a distraction in others; and felt as though it stifled the choreography, which is a shame given the directors “Strictly” credentials. But once confession is over, all is forgiven as the show yields to its musical-number-filled second act and feel-good finale.

    Sister Act is a high energy bundle of fun, and whilst this production and ensemble cast doesn’t sparkle quite as brightly as other productions of this show, it has enough big tunes, bold characters and beating heart to make for an toe-tapping, if ultimately throwaway, evening at the theatre.

    Sister Act is currently on a UK Tour until 7th September 2017 and details can be found at http://www.sisteractuktour.co.uk/ . The show was reviewed at Sheffield Theatres, who’s upcoming production of new musical “Everyone’s Talking About Jamie” opens on the 9th February 2017. Visit https://www.sheffieldtheatres.co.uk/whats-on/everybodystalking-jamie for details.

     

  • THEATRE REVIEW | St Petersburg Classic Ballet’s Swan Lake – Sheffield Lyceum and National Tour

    THEATRE REVIEW | St Petersburg Classic Ballet’s Swan Lake – Sheffield Lyceum and National Tour

    ★★★| It is a tidal wave of tights, tutus and tiaras in this presentation of one of Tchaikovsky’s most famous ballets, performed in typical traditional style by the St Petersburg Classic Ballet. Telling the story of a Prince who finds his youth slipping away and being pressured into marriage, he meets and falls in love with Odette, Queen of the Swans, who is under a curse from which only true love can free her. But their love is thwarted by the evil Von Rothbart when he tricks the Prince into being betrothed to another. When the Prince realises he has been a victim of such cruel treachery, he battles to save Odette from her curse.

    PR Supplied

    In their second UK tour, Swan Lake proves to be a more entertaining and gentile evening than anticipated, with simple but effective sets, traditional costumes and an instantly recognisable score. The company, on the whole, performed well and the dancers individually were all very talented and quite natural in their performances. There is no denying the technical ability and suppleness of the cast, but when dancing as an ensemble, there were still some flaws in the performance including the odd stumble, the fixed smiles and, on occasions, the unison of the dancers not being as tight and synchronised as one would hope for and anticipate, especially from such a prestigious company

    That aside, the vivacious, playful and instantly recognisable score by Tchaikovsky sounded as vibrant as ever, and proved absorbing, especially during the first act. There were times when the ballet sparkled brightly, nowhere more evident than the sight of a sheer volume of swans and signets in the latter portion of the second act, which amounted to a fairly mesmerising vision. The tapestry based static set was functional and some of the costumes were beautifully put together. There was a romantic pas de deux in the latter half of the second act and the soloists portraying the potential suitors displaying their wares at the opening of Act 3 were quite captivating.

    For those seeking a traditionally presented ballet, then this version of Swan Lake is a safe bet and a pleasant evening’s entertainment, albeit one which is let down very slightly by a lack of unison within the performance on the odd occasions, which is a shame when compared to the tightly performed routines by other companies.

    However, there remain many aspects of the show to enjoy and it is an easy, accessible ballet which is more focussed on dance and performance than detailed narrative.

    The production was reviewed at Sheffield Theatres (www.sheffieldtheatres.co.uk) who will be premiering a new musical, Everyone’s Talking About Jamie, based on the BBC3 documentary Jamie: Drag Queen at 16 in February 2017

    St Petersburg Classic Ballet is touring the UK, calling at Poole Lighthouse, Truro Hall, Bath Theatre Royal and Aylesbury Waterside between now and the 4th February 2017.

     

  • THEATRE REVIEW | The Shawshank Redemption – Sheffield Theatres and National Tour

    ★★| Andy Dufresne, a quiet and mild mannered banker, arrives at Shawshank Prison after being convicted for the murder of his wife and her lover. As he settles into his new life, he befriends old timer, Red, the prisoner fixer and a man who is known to “acquire certain items from time to time”.  Andy splits his time between maintaining his innocence, carving rocks, avoiding the violent “sisters” (a predatory gang of sexually violent inmates) and trying to improve the lives of those around him.  But when Andy overhears a conversation between two of the guards, he is provided with opportunity which he simply cannot pass up.

    Picture Credit – Mark Yeoman

     

    The Shawshank Redemption is based on the Stephen King novella, and the 1994 film of the same name. The film has gone on to become one of the nation’s favourites, and with this in mind, the stage show has some big prison-issue boots to fill. The static set is reflective of the prison setting, with its tall, oppressive walls towering over the proceedings; and it’s bland, dreary appearance is being quite befitting for the fictional prison.  In the book and the film, the story of Dufresne’s time in Shawshank is one which is filled with optimism and hope; and it is the contrast of that emotional warmth juxtaposed with the cold starkness of the confines of the prison walls which works so well.

    Paul Nicholls (Eastenders) leads the cast as Andy Dufresne, with TV stalwart Ben Onwukwe (Eastenders, London’s Burning, Coronation Street) playing Red, both of whom gave functional performances without ever really capturing the refinement of the two lead characters or their relationship. The remainder of the cast, sadly, seemed to replace acting with shouting, leading to some rather unsubtle performances; with only Jack Ellis in his portrayal of the Warden and Nicolas Banks as Tommy ever really finding their feet.

    Adapted by Owen O’Neill and Dave Johns, the script is choppy and never seems to gather momentum or develop into having any natural flow, with somewhat clunky transitions from one plot development to the next. Rather than allowing the drama to play out on stage, comedic moments are added to scenes of tension, which had the audience laughing when they should have been on the edge of their seats, lessoning the impact of the story and the events portrayed. Whilst the story does not shy away from the harsh reality of prison life, David Esbjornson’s direction is as bland as the prison walls and as heavy handed as the prison guards themselves, often leaving much to the imagination and hinting at the acts of violence rather than portraying them.

    The show is a bold attempt to bring to life something which is so well loved, but as much as it pains me to say it, the writing, acting and direction all had their own issues which meant that they never really came together; and whilst some of the audience clearly enjoyed the show, for me personally, it simply didn’t work.

    The Shawshank Redemption is currently winding up its national tour. The show was reviewed at Sheffield Theatres (www.sheffieldtheatres.co.uk ), who are soon hosting the world premiere of a new musical based on the BBC3 show “Jamie: Drag Queen at 16” Search #TalkingAboutJamie.

  • THEATRE REVIEW | Sunny Afternoon – Sheffield Lyceum Theatre & National Tour

    ★★★ | Sunny Afternoon

    In this musical biopic, the swinging sixties are brought back to life as Sunny Afternoon tells the story of the early days of the classic British band, The Kinks, as they fight with their management and with each other on the road to fame. Featuring a slew of classic songs, including “Waterloo Sunset“, “You Really Got Me”, “Lola”, “Dedicated Follower of Fashion” and “Sunny Afternoon”, the show charts the on-stage antics, backroom bickering and personal lives of one of Britain’s seminal rock and roll bands.

    Picture Credit : Kevin Cummins

    Whilst the production gives a flavour of the band’s history, the narrative is stripped back to allow for the soundtrack to take pride of place. The show never really provides any detailed  or thorough insight into the band, their relationships or into the music industry of the 60s, but instead offers a show brimming with musical numbers which sit fairly comfortably within the story and remind you just how many great songs the band have done. The musical numbers veer from the tender ballads to some raw and energetic performances, with one of the musical highlights of the show being an acapella version of “Days“.

    Using a wall of speakers, the recording studio style set was visually striking; and a runway from the stage leading out into the audience added gravitas to the concert style feel of the piece and drew the audience in. The costumes accurately reflected the stunning sixties style and period detail littered the set; whilst the lighting design fitted the bill without ever being intrusive.

    Ryan O’Donnell provided a charismatic performance as Ray Davies, bringing with it an air of a thoughtful, reflective and somewhat fame-resistant individual to whom music was the most important thing, which was juxtaposed nicely with Mark Newnham’s confident performance as pill popping, hard drinking and cross-dressing Dave Davies. But what impressed most was the musical talent on display with the cast playing a variety of musical instruments; and in a play which holds the musical numbers out as its key feature, live performances like these really bring the show to life.

    Sunny Afternoon presents as a nostalgic slice of the sixties which benefits from a soundtrack comprising of more hits from the band than you thought you knew; and an interesting, if light, insight into the band which helped define the era.

    Sunny Afternoon is currently on tour around the UK until May 2017 (visit www.sunnyafternoonthemusical.com for details) and is currently playing at Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until 29th October 2016.

  • Theatre Review | A Dream – Crucible Theatre, Sheffield

    ★★★ | A Dream, Crucible Theatre, Sheffield

    A warm midsummer evening, a busy hospital, a plethora of patients and staff and a mash up of Shakespeare’s best characters come together in A Dream, where the most infectious thing doing the rounds on the wards is love. Written by Chris Bush, Sheffield People’s Theatre combines a collective talent of over a hundred people to interlace some of Shakespeare’s best-known works.

    Photo Credit – Mark Douet

    The stories include a doctor who falls in love with a cleaner; the love between two gay men, and the impact of their love upon their parents and the relationships between parents and children. Married couples explain the secret of their relationships longevity, whilst youngsters fall in and out of love as they try to find their own way in life. Add into this mixture a number of Shakespeare staples – the girl who disguises herself as a boy, distinctions in social class, the case of mistaken identity, the issue of families separated through tragedy. All of these familiar elements are pulled together in this production.

    Bringing A Midsummer Night’s Dream into modern times, via quips, quotes and characters from As You Like It, Romeo and Juliet, The Tempest, Much Ado About Nothing and Anthony and Cleopatra, A Dream makes for a whimsical and light-hearted evening which has a number of points of appeal. Chris Bush interweaves the lives, loves and stories of a number of characters, in an intertwining narrative which is light and bouncy. There are a handful of brief musical interludes and pieces of choreographed movement which are enough to keep the pace moving but not numerous enough to class it as a musical.

    But beneath the whimsy and the somewhat seemingly superficial storyline was something that had real heart. The show looks at different ways in which love can manifest itself and how love can transcend boundaries of age, gender, social standing and sexuality. There is a real heart to the show, nowhere more blatant than a very well-written tribute to those who work day in day out in hospitals; and who make a difference to people’s lives with every shift that they undertake.

    The show was presented well with an engaging clinical set and some good performances standing out amongst the masses. Some of the scenes seemed slightly superfluous, some slightly overlong and some seem to run out of momentum a little prematurely. But overall this is a well-written and crafted piece undertaken by a large cast of over one hundred enthusiastic performers.

    Similar in style to Dickensian, which recently graced BBC One; the show can certainly be enjoyed on face value, but there is also ample opportunity for spotting the Bard references for the more ardent Shakespeare fans. It is fitting that with the setting of the hospital and the over-arching theme of love, this show is a love letter to the NHS, to the theatre and to love itself.