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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 | Blasted, Sheffield Theatres

    Sheffield Theatres opens their Sarah Kane season with Blasted, her first and possibly most controversial play. Ian, a racist, sexist and homophobic middle aged journalist, arrives in a hotel room in Leeds, accompanied by a young girl, Cate, whose youth and naivety is exacerbated by her learning difficulties. As their abusive relationship, characterised by manipulative behaviour and sexual violence, continues; a soldier bursts into the room and, through a series of shocking events, there is a shift in power, control and dependency.

    When considering how to describe this play, three words repeatedly surfaced in my mind – uncompromising, unflinching and unapologetic. Themes of control, dominance, sexual violence, manipulation and dependency are thrown at the audience in a shocking and, at times, difficult to watch play, causing you to shift uneasily in your seats and bullishly charging at your boundaries of acceptability. In line with the initial controversy when the play was first performed (where it was described as a “feast of filth”), it still has the power to not only emotionally gut punch the audience, but to be genuinely upsetting and distressing.

    In this three-hander, Martin Marquez impressed as bigoted and thoroughly unpleasant Ian, carrying a genuine air of menace and nastiness. Mark Stanley, as the soldier, complimented that performance with a restrained portrayal of a man numb from his own hatred; but I was most affected by Jessica Bardon’s performance as Cate, who carried a haunting look of vacancy which bore straight into you and lingered with you long after leaving the theatre.

    Richard Wilson confidently directs with a steady hand, not shying away from extended periods of silence or inconsequential action, but equally not shying away from the visceral and shocking aspects of the play. The set, with its hints of glass surrounding the stage, places you directly in the voyeuristic position of peering in through the hotel room window, watching events unfold; and was both visually impressive and well designed. Crucially, the pivotal moment in the play was accompanied by a jolting and effective transformation of the stage.

    Featuring very adult themes, offensive language, scenes of male and female rape, nudity and strong, bloody violence, this is certainly not a play for everyone, and is a heavy, controversial and hard-hitting piece of theatre, which I have no doubt many people will find offensive and distasteful. It is also surreal at times and contains a number of aspects which are particularly uncomfortable to watch, especially in the confined arena of the Crucible Studio.

    If you are seeking a challenging piece of heavyweight theatre, then this is a quality and technically impressive production which offers that in abundance. But whether you consider the themes explored and the events of the narrative as suitable subjects for entertainment will very much depend on your individual viewpoint. My suggestion is that you read a little about the play before you decide whether it is for you or not.

    Blasted is currently playing at Sheffield Theatres until the 21st February 2015.

    The Sarah Kane season includes all of the playwright’s works over the coming months. Full details can be found at http://www.sheffieldtheatres.co.uk/event/blasted-15/

  • THEATRE REVIEW | The Sound Of Music, National Tour 2015

    ★★★★ | The Sound Of Music

    Let’s be honest, The Sound of Music needs no introduction. The story of Maria, who is sent from the Abbey to look after the Von Trapp family, is one that is known to most. This classic musical is crammed full of songs that you cannot help but know the words to, such is their foothold in popular culture. “Climb Every Mountain”, “My Favourite Things”, “Sixteen Going on Seventeen” and, of course, “The Sound of Music” are all in there, but the question is, with a show which has been performed so frequently over so many years, what can a new version bring to the stage?

    Firstly, this production brings a very good cast. Danielle Hope, who made her professional debut as Dorothy in the Wizard of Oz, following winning the BBC’s Over the Rainbow program, was very impressive. Her singing voice was beautiful and effortless and her stage presence could be felt. Staying on the right side of twee, she made a very good Maria and had won me over by the conclusion of her first number. Jan Hartley utterly blew the audience away with her goose pimple-inducing rendition of “Climb Every Mountain” and Grace Chapman was equally impressive and perfectly natural in her role as Liesl. Most surprisingly for me though, was the incredible talent of the youngsters playing the Von Trapp children.

    This production also brings with it a remarkable set. Appearing grand in scale (especially for a touring production), detailed and effective, it lifts the production and makes it feel fresh.The lighting and direction were of a high standard and the addition of a live orchestra only enhanced the experience. The sound in the theatre was perfect with a superb balance of music and lyrics and the performers delivered perfect diction in every line allowing the words to be heard clearly. Technically, it was a well-put together show.
    Where the production faltered slightly was in the overly camp portrayal of (Uncle) Max Detweiler and that sometimes, especially during the party scenes, the number of people in the touring cast didn’t quite fill the stage. However, I wouldn’t necessarily hold these very trivial quibbles against such a broadly enjoyable production.

    Having seen the Sound of Music undertaken by numerous professional companies over the years I have to say that this is perhaps the best version I’ve seen. Of course it’s camp, of course it’s kitsch, but therein lays the fun and the enduring appeal of this show. This touring production seems to really revitalise the show as a whole, so iron your wimple, polish your sailors whistle and catch this production on national tour.

    The Sound of Music plays at the Sheffield Lyceum until 14 February 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour (http://www.kenwright.com/index.php?id=1440)

    By Paul Szabo

    Also playing at:
    Kings Theatre, Glasgow
    Sands Theatre, Carlisle
    New Theatre, Cardiff
    Wimbledon Theatre, Wimbledon
    New Theatre, Hull
    Milton Keynes Theatre, Milton Keynes
    New Victoria Theatre, Woking
    Hippodrome Theatre, Bristol
    Congress Theatre Eastbourne
    Grand Theatre, Leeds
    Grand Opera House, Belfast
    Bord Gais Theatre, Dublin
    The Lowry, Salford

  • THEATRE REVIEW | To Kill A Mockingbird, Sheffield Lyceum & National Tour

    ★★★★ | To Kill A Mockingbird, Sheffield Lyceum & National Tour

    Harper Lee’s classic American novel, which many will remember from their schooldays, is beautifully presented in this classy and stylistic play.

    Set in the deep south of America in the 1930s, issues of racism, prejudice and optimism are explored through the eyes of the young narrator, Scout, as she learns of the flaws in those who live amongst her in her neighbourhood and counterbalances this by watching her Father, an idealistic lawyer, as he defends a black man accused of raping a white girl. As tensions build within the small community, Scout learns about the impact of both hatred and of standing up for your beliefs, regardless of external pressures.

    Despite its somewhat heavy themes and the dramatic tension displayed on stage, the play still maintains a good mixture of very gentle humour and childhood innocence which lifted it slightly, ably aided and enhanced by a strong cast who provided universally excellent performances. In particular, Zackary Momoh stood out as the accused Tom Robinson, the young leads performed well and Luke Potter provided some delightful and atmospheric musical accompaniment. The staging of the play was impressive, with scenes interspersed with the cast members reading directly from the novel, acting in the role of narrator, before seamlessly morphing into various characters in the story as another narrator took over. The actors entered and exited the stage though the audience, and placed the audience in the shoes of the Jury during the trial scenes. The set was deliberately sparse, with simple props being used to set the scene, allowing the performances and writing to be the focus and avoiding the drama being overshadowed by being style over substance. Director, Timothy Schrader cleverly utilises these techniques to provide an absorbing and engaging presentation which draws the audience in.

    To Kill A Mockingbird is a thought provoking and timely reminder of the impact of blind prejudice and despite being written around 55 years ago, it’s themes are still pertinent today, especially when considering the persecution of the gay community in various parts of the world. Overall, this is a high-quality production which is engrossing, engaging and enjoyable.

    To Kill A Mockingbird is playing at Sheffield Theatres (www.sheffieldtheatres.co.uk) until 31st January 2015 before continuing on its national tour (http://www.tokillamockingbirdplay.com/).

  • THEATRE REVIEW | Blood Brothers – Sheffield Lyceum and National Tour

    Over the last 29 years, Blood Brother has nuzzled its way into the hearts of theatre goers with its blend of music, comedy, pathos and social commentary.

    The show tells the story of Mrs Johnstone, a single mother struggling to make ends meet. Finding herself pregnant with twins, she realises that she can only afford to keep one of them, so enters into a pact to give one of them to a well-to-do neighbour, Mrs Lyons. The boys meet and become best friends, never knowing that they were twins secretly separated at birth. But as they grow up, their friendship is tested; as their lives take different paths, leading to tragedy. Featuring the songs “Bright New Day”, Marylyn Monroe” and the heart-breaking “Tell Me It’s Not True”, the show still packs out theatres up and down the country and is affectionately known as “the standing ovation musical”.

    There is a reason why this play has been so enduring, and that is primarily down to the superb writing by Willy Russell. The loud first act establishes the characters nicely and is very comedy orientated, if sometimes a little bit too shouty in its presentation. But it is in the second act where the writing shines through, with both the progression and changes of the characters and the genuine drama which captivated the audience as it unfolded, leading to the ending which still packs an emotional gut-punch. The production values of the show were very high indeed, with its detailed sets, costumes and props and the presentation as a whole was relatively polished.

    There are some very good performances in this production, primarily from Sean Jones, who portrays the transition of Micky from giddy schoolboy to troubled young adult with ease, having made the role very much his own over the years. Kate Jarmon as Mrs Lyons provided an impressive turn as a woman descending into madness and paranoia and rounding off the leads were Joel Benedict as Eddie and Danielle Corelass as Linda, both of whom were equally as strong.

    With those performances in mind, it’s a real shame that Marti Pellow disappoints as the Narrator, looking awkward and uncharismatic as he skulks around the set utilising an indeterminable accent whilst over singing and over emphasising every syllable of every word he delivered. Maureen Nolan, offered a really warm portrayal of Mrs Johnstone garnering a genuine empathy from the audience, but whose singing voice was not quite on form on the evening, which is a shame when I have seen her perform much better.

    Having seen the show many, many times, this was the first time I felt that Blood Brothers is now starting to show its age a little, with its overuse of electric drums and echo microphone; but it could be said that in some way, that adds to the nostalgia and emphasises that the socio-economic issues addressed when the play was first written are still relevant nearly 30 years later.

    Blood Brothers is opening its 2015 tour at the Sheffield Lyceum (www.sheffieldtheatres.co.uk) before touring the country until May, details of which can be found at http://www.kenwright.com/index.php?id=590

  • Moscow City Ballet’s Swan Lake – Sheffield Lyceum and National Tour

    ★★★ | Moscow City 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 Moscow City 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 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.

    Having not been overly impressed with my first visit to Moscow City Ballet (for their performance of The Nutcracker) I was not sure what to expect, but found that Swan Lake proved to be a more entertaining and gentile evening that I anticipated. The company as a whole were very talented, and the number of stumbles and heavy footed landings was significantly less than when I had seen them before. The dancers individually were all very talented and quite natural in their performances, and 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, with 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 and playful 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 place the audience in mind of the time when this ballet was first performed; and the costumes were beautifully put together. There was a romantic pas de deux 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 evenings entertainment, albeit one which is let down to an extent by a lack of unison within the performance, which is a shame when compared to the tightly performed routines by companies such as Northern Ballet and Matthew Bourne’s New Adventures. 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.

    Further details can be found at www.sheffieldtheatres.co.uk and www.moscowcityballet.com/en

  • THEATRE REVIEW | Anything Goes – Sheffield Crucible Theatre and National Tour

    ★★★★★ | Anything Goes – Sheffield Crucible Theatre and National Tour

    It’s all aboard for high camp on the high seas, as the SS American sets sail from New York to Southampton and Billy Crocker stows away on board to chase the love of his life, Hope Harcourt. When he discovers that Hope is due to marry hapless fop, Lord Evelyn Oakleigh, Billy teams up with a gangster, Moonface Martin, Erma, the Gangster’s Moll; and a sassy lounge singer, Reno Sweeny, in an attempt to win her hand. But can Billy avoid the sailors hunting the stowaway, get away with a number of dubious disguises, avoid his unsuspecting boss and get Hope to agree to marry him before the ship docks in Southampton?

    Featuring the songs “I Get a Kick out Of You”; “You’re The Top”; “De-Lovely”, and “Anything Goes”, this 1930’s set musical comedy, which was written 80 years ago, is still an utterly joyous delight. The story has everything you could want from a whimsical musical – a will they/won’t they love story, a genuinely funny, laugh out loud script, some subtle slapstick and elements of farce, mistaken identity, disguises of varying quality, feisty heroines and, of course, a delightful and timeless score and songs which make it impossible for you to resist tapping your feet.

    This art deco tinged production is packed with well-timed comedy, spectacularly choreographed set pieces, good vocal performances and an uplifting sense of fun which proves utterly irresistible. Stephen Matthews delights as the naïve, bumbling toff, Lord Oakleigh, who is bursting with a dark family secret. Hugh Sachs (from TV’s Benidorm) shows his comedic talent as Moonface Martin, in a performance which is reminiscent of Nathan Lane in The Producers; and Debbie Kurup was a sassy bundle of energy in her performance as Reno Sweeney, heading up the tap dancing, show-stopping denouement to the first act and a lively and vivacious opening to the second act.

    The show is well directed and choreographed and is brimming with such energy and you can’t help but get swept along by it. This production is a welcome and well-timed revival of a criminally underperformed show, which has a surprising number of parallels between the 1930s and modern day, in terms of the economy and the public’s interest in celebrity. But the rapturous standing ovation and the number of people singing, tap dancing and laughing as they left the theatre is the most accurate measure of the success of the show.

    Sheffield Theatres annual Christmas musical is rapidly garnering a national reputation as one of the most hotly anticipated theatrical events, and after their award-winning productions of My Fair lady and Oliver! over the last two years, Anything Goes continues the trend.

    Anything Goes is playing at Sheffield’s Crucible Theatre until the 17th January 2015, before embarking on a national tour covering a total of 30 venues up and down the country between now and October 2015. Visit www.sheffieldtheatres.co.uk and http://anythinggoestour.com for information, tickets and tour details.

  • THEATRE REVIEW | STOMP – Sheffield Lyceum and National Tour

    ★★★★ | STOMP – Sheffield Lyceum and National Tour

    Mixing tap dancing, street dance, percussion, juggling, humour and incredible feats of physical performance, STOMP enters its 25th year with a show which utilises everything from paint pots to bin lids to create rhythmic set pieces which are dazzling, fresh, funny and exhilarating.

    Initially, one did wonder, having only seen the odd set piece from STOMP before on TV variety shows, how they would be able to fill a continuous one hour forty minute show without it becoming repetitive, but they were able to move from one set piece to the next seamlessly, always managing to add something new and different from what had come before. Using everything from brooms, sinks and dustbin lids through to shopping trollies, cigarette lighters and giant rubber rings, the variety of set pieces was more than enough to keep the show rattling through its running time, and the show arrived at its curtain call before you knew it and before you wanted it to.

    You couldn’t help but admire the sheer physicality of the performers, whose stamina throughout their relentless performance was undeniable. Their precision and sense of timing was impeccable, demonstrated nowhere better than in a routine involving a rapid flickering of cigarette lighters creating an effect which was reminiscent of a string of Christmas lights. The physical prowess of the performers impressed as they undertook what can only be described as a percussionist parkour; utilising and clambering over the set and props and leaving you in no doubt that they were giving it their all.

    With a static backdrop, covered in objects which transform into impromptu percussion instruments, the set was straight forward, but both the set and the performance were enhanced by some subtle but very intelligent lighting which also worked as a distraction tool, allowing the performers to disappear and reappear elsewhere, adding to the energy and vibrancy of the piece. The sounds of the beats, bangs and stomps, as the cast belted them out, were so loud that they resonated in the chest and added to the excitement of the performance.

    The show was also peppered with a lot of humour. A few looks, glances or exaggerated gestures exchanged between the cast members conveyed a simple narrative and each individual performer managed to develop an unassuming on-stage persona, which separated out the cast members from each other.

    The show was far better than expected and the combinations of skills on display were both impressive and enjoyable. STOMP is certainly deserving of their reputation after 25 years of tours and performances and the show has much more to it than you might expect.

    STOMP is at the Sheffield Lyceum Theatre until 8th November 2014 (http://www.sheffieldtheatres.co.uk/whats-on/ ) before continuing on its national tour. For details, visit http://www.stomp.co.uk/location/uk/

  • THEATRE REVIEW | Rock Of Ages

    ★★★ | Rock Of Ages

    The Bourbon Room is the hottest club on the Sunset Strip, being the epitome of rock ‘n’ roll excess. Run by Dennis and Lonny, the club finds itself under threat from an over-eager property developer and so tries to raise money by staging a farewell gig by Arsenal, the biggest rock band around, fronted by the charismatic Stacee Jaxx. Meanwhile, bar tender Drew craves to be on stage and Sherrie, who is just a small-town girl, arrives in LA to chase her dreams. Drew and Sherrie fall in love, but neither quite say it, so when Stacee Jaxx comes between them and the club is about to be pulled down, can Rock ‘n’ Roll win through?

    This jukebox musical was crammed full with a truckload of guilty pleasure soft rock classics, including “We Built This City”, “Hit Me With Your Best Shot”, “Just Like Livin’ in Paradise”, “Here I Go Again”, “Wanted Dead or Alive” and “Don’t Stop Believin’”, with the musical numbers coming thick and fast, accompanied by the live band a scantily clad ensemble.

    Ben Richards, as Stacee Jaxx, was criminally underused, but spent most of his time making the audience swoon as he stripped to the waist and swaggered around the stage. Cameron Sharp stole many scenes as the camp German, Franz, and treated the audience by displaying his thighs which would make a pro-rugby player jealous. Noel Sullivan exceeded expectations as Drew and Cordelia Farnwoth was a versatile lead. But the energy and enthusiasm of Stephen Rahman-Hughes as Lonny, the comedic narrator, made him stand out from the remainder of the cast.

    The stage was busy and detailed, combining a static background, video projection and moveable props, all complimented by some well-designed lighting. The live band was good, and the balance between music and vocals were about right. The costumes reflected the stonewashed denim and excessive lace of the era, but the choreography and dancing could have been tighter than it was.

    Rock of Ages is energetic, bold, brash, loud and in your face – reflective of the rock movement at the time – and nestles neatly between being an affectionate tongue in cheek tribute to the times and a knowing, self –mocking piece of fun with an abundance of flesh on display and a playful feel to it. It amounts to a generally fun but throwaway piece of musical theatre which was lapped up by the crowd and the finale garnered whoops and cheers, bringing everyone to their feet and singing along.

    Rock of Ages is currently playing at Sheffield Lyceum Theatre until Saturday 1st November 2014, before rounding off its national tour. For more detail, visit the official website at: www.rockofagesmusical.co.uk/

  • THEATRE REVIEW | The Woman In Black, Sheffield Lyceum Theatre & National Tour

    ★★★★★ | The Woman In Black, Sheffield Lyceum Theatre & National Tour

    et in an old theatre in the late 1950’s, a solicitor, Arthur Kipps, enlists the assistance of a young actor to tell his story. His tale revolves around a terrifying incident when he was younger, when he travelled to the Eel Marsh House to settle the estate of a long standing deceased client. Initially finding a conspiracy of secrecy from the locals, he makes his way across the Nine Lives Causeway, which is cut off at high tide. Alone in the mansion, he is plagued by the sound of a pony and trap, an unexplained banging noise and a door which appears to be locked from the inside. What secrets does the estate hold, what lurks in the swirling mist… And who is the woman in black he keeps seeing?

    This chilling and effective ghost story is beautifully crafted and used simple techniques to create an immensely taught atmosphere in the theatre. The lighting design in particular was exceptional. Who would have thought that a dark stage with just a door highlighted would draw worried mumblings from those around you? This is a theatrical experience like no other.

    The production slowly cranks up the tension, which quite literally draws you to the edge of your seat and then throws you back into it with “cattle prod” jolts that elicited genuine screams of terror from the audience. The narrative of the piece completely draws you in; and the production avoids spoon feeding you the story, leaving you as the audience to create your own horrors in your imagination. The set, staging and props were remarkably effective in their simplicity and created an atmosphere where you held your breath with the central character as he explored the darkness. Setting the show in a theatre made you instantaneously part of the production and the dark atmosphere and low level lighting only add to the gloominess and intimacy of the piece.

    The performances from the two leads were both excellent, with Matt Connor playing the part of The Actor and Young Kipps, and Malcolm James providing the elderly Kipps and the other characters he comes across. It came as a surprise just how effective a simply staged double hander could be and the way in which the audience is manipulated via the events unfolding on stage is testament to the outstanding writing behind the show.

    This show is not akin to the recent film, so those expecting the Daniel Radcliffe version will be disappointed. It is faithful to its original source material, the book by Susan Hill. If anything, it is more reminiscent of “The Haunting” (1963) which leaves everything to the imagination. Here, the effective equivalent of the tradition of sitting round an open fire and telling ghost stories proves that there is more to what is unseen than what is seen; and is an absolutely perfect pre-Halloween treat or a superbly chilling way to spend a dark, stormy winter evening.

  • THEATRE REVIEW | This Is My Family, Lyceum theatre Sheffield and National Tour

    ★★★ | This Is My Family, Lyceum theatre Sheffield and National Tour

    Nicky loves her family very much, so enters a competition to win a holiday by describing her family in less than three hundred words. However, her description does not include details of her mother’s boredom at her routine life, her father’s impending midlife crisis, her grandmother’s increasing forgetfulness and her Goth brother’s lovelorn angst. So when Nicky finds out she has won the competition and can chose any location in the world for her destination, she eventually decides on a holiday which none of her family would have ever expected.

    Following its debut last year, this new British musical comedy embarks on its first national tour. Written by Tim Firth, writer of Calendar Girls and Kinky Boots, the quick paced script is delivered at a matching speed and produces a number of genuinely funny one liners, with humour reminiscent of the family sitcoms “Outnumbered” and “”My Family”. The show is akin to a sing through musical, with the songs being part of the narrative and moving the story forward (with the cast, in essence, singing their lines) but with sufficient dialogue in between to break up the numbers and a script and story which balanced comedy, conflict and sentimentality very well.

    Evelyn Hoskins was every bit the star of the show, with her outstanding voice and upbeat performance as Nicky. But she was very closely followed by Terence Keeley, as Matt, whose singing voice had a mature, powerful and almost operatic quality for such a young performer and whose deadpan delivery was spot on. The entire company had good comic timing, playfully cutting across each other and delivering the wordy script with aplomb.

    In the newly refurbished Lyceum Theatre, the sound was crystal clear with every word being audible, despite how quickly the cast spoke. The static set was functional, as was the lighting, but this play is more about the writing than the staging.

    Where the play fell short was the songs; which sounded far too alike each other to ever really stand apart from the previous on, and the repeating refrains somehow making the first act seem very slow. In terms of the story, there felt as though there was very little narrative progression in the first act, and it was more about building up characters and relationships than driving the plot forward. But the second act brought everything together quite nicely, and in hindsight, it was clear why the slow build up was necessary, with the show just managing to keep on the right side of sentimentality to head towards a feel good ending.

    This is My Family is not your usual musical – if you go expecting show stopping routines and big, bold numbers, you will be disappointed. But if you want a sitcom with songs, with plenty of laugh out loud moments, you will no doubt find much to enjoy.

    This Is My Family is currently playing at the Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk/event/this-is-my-family-14/ ) before heading out on its first national tour, visiting Royal & Derngate, Northampton; Belgrade Theatre, Coventry; Liverpool Playhouse and The New Wolsey, Ipswich.

  • Sheffield Uni To Run A Series Of X Rated Lectures

    BED BUGS AND CYBER-HUGS: X-RATED LECTURE SERIES LAUNCHES IN SHEFFIELD.

    Bizzare mating rituals, human/robot intimacy, female promiscuity in animals and sperm discussed at X Lectures

    Sex and reproduction explored as part of the University of Sheffield’s Festival of the Mind
    A unique series of four “X Lectures” will take place between the 18th and the 24th September, focusing on the theme of sex and reproduction both in the animal kingdom and in humans. The X Lectures form part of the University of Sheffield’s Festival of the Mind. The 11-day long Festival of the Mind (18th- 28th September 2014) will see the University of Sheffield team its leading academics with the UK’s most famous artists and musicians in order to bring academia to the streets.

    Over the course of four lectures, experts in different areas will share their knowledge with members of the public on subjects including female promiscuity in the animal kingdom, the use of technology in communicating emotion and intimacy, evolutionary explanations for harmful mating rituals, and the secret life of sperm.

    The four lectures will be given by Professor Tim Birkhead, Professor Mike Siva Jothy, and Dr Allan Pacey all from the University of Sheffield and Adrian Cheok from City University, London.

    In the first lecture on Thursday September 18, Professor Mike Siva Jothy from the University of Sheffield, will explain why many animals engage in painful and sometimes fatal behaviour during mating, and how this extreme behaviour which appears to go against the animals’ self-interest can actually be explained by neo-Darwinian evolutionary theory.

    Adrian Cheok, chair Professor of Pervasive Computing at City University London, will use the second lecture of the series on Sunday September 21 to describe how we will soon experience taste, touch and smell through the internet and how “telepresence” technologies will allow us to physically interact with people anywhere in the world.

    The third lecture on Monday September 22, from Professor Tim Birkhead from the University of Sheffield, will explain that promiscuous behavior among female animals is just as common as among males, meaning that sexual competition among females is equally as fierce as it is among their male counterparts, resulting in elaborate genital structures in both sexes in some species.

    In the final lecture on Wednesday September 24, Dr Allan Pacey from the University of Sheffield will explore the world of sperm, telling the story of Dutchman Anton van Leeuwenhoek’s 1677 discovery of spermatozoa; the elegant processes through which fertilization occurs; the ethics of creating sperm from other cells in the body; and the economics of the international trade in supplies of sperm.

    The 11-day long Festival of the Mind (18th- 28th September 2014) will see the University of Sheffield team its leading academics with the UK’s most famous artists and musicians in order to bring academia to the streets.

    The X Lectures will all take place at the Festival of the Mind’s Spiegeltent in Barker’s Pool, Sheffield.

    Festival of the Mind will showcase ground-breaking collaborations between leading academics from the University of Sheffield and local people in the creative and cultural industries, at venues across the city.

    Events take place between 18–28 September 2014. For further information and the full programme, visit: http://festivalofthemind.group.shef.ac.uk

    Follow Festival of the Mind on Twitter @FestivalMind #FestivalMind or visit our Facebook page.