THEGAYUK

Tag: Theatre Review

All the latest breaking news on theatre in the UK. Browse THEGAYUK’s complete collection of news, articles and commentary on LGBT+ theatre in the UK.

  • THEATRE REVIEW | The Keith Kat Klub – Phoenix Artist Club – London

    THEATRE REVIEW | The Keith Kat Klub – Phoenix Artist Club – London

    ★★★★★ | The Keith Kat Klub –The Phoenix Artist Club

    Keith Ramsey is just fantastic in his new one-man show ‘The Keith Kat Club.’

    Now playing at The Phoenix Artist Club, London’s ‘most loved late night local,’ Ramsey is Keith Kat in a show that will razzle and dazzle you (while the musical Chicago plays upstairs at The Phoenix Theatre and is no match for Keith!). In perhaps the most entertaining and best 90 minute show currently playing in the West End, Keith will take you to his own version of Berlin’s Kit Kat Club where he sings songs from the greats, reminiscent of a combination of Joel Grey and Liza Minelli in the film Cabaret.

    Keith completely takes control of his evening and entertains the audience with his winning smile and amazing voice, and convincingly sings songs with the voices of Cher, Bette Davis, Barbra Streisand, Bette Midler and many many more. But he wows his fans by singing Stephen Sondheim’s ‘The Ladies Who Lunch’ and he saves the best for last, including stunning interpretation of Edith Piaf’s ‘Non, Je Ne Regrette Rien.’

    It’s a show that ends too soon and we are left wanting more and more. Keith Ramsey in The Keith Kat Club is just the best. Enjoy being whisked back in time by the wonderful voice of Ramsey and his superb talents.

    Upcoming show dates are: 12th, 19th, 26th September

    To book, please visit this link:

    https://www.eventbrite.co.uk/e/the-keith-kat-klub-tickets-49000396505

  • CABARET REVIEW | Black Cat: Bohemia

    ★★☆☆☆ | Black Cat: Bohemia

    The Black Cat cabaret has been slinking its way round the London circuit for a good few years and frankly, it’s starting to look a bit mangey round the haunches. This autumn’s incarnation is themed around Bohemia with an attempt at a demi-monde atmosphere but which has about as much relation to the bohemian style as an afternoon sipping Sherry and nibbling on Bourbon biscuits with your auntie Pam from Dagenham.

    The problem lies, not in the acts but in the overall show which is lacking in edge. If you’ve seen cabaret before you’ll also have seen it all before and it’ll either have been similar, better or worse in quality than you witness here, which isn’t the problem.

    There’s the usual acrobatics, fire-eating and hoop work and all of it’s pretty much faultless. However, the seven performers feel like a backdrop to the talents of compere Laura Corcoran (a.k.a. Frisky). She banters with the audience, makes jokes, sings a medley of uninspired musical choices (and at times unwise ones such as the choice of trying to cover ‘Wow’ by Kate Bush (who’d even try that?)

    There’s nothing wrong with her work. She’s archly funny and generally fun but there’s just too much of her. Way too much. It feels like the cabaret performers get a brief chance to pop on, do a turn and pop off again and then she’s off again. On the rare occasions that there’s an atmosphere building up or the remotest hint of thrill then she quickly re-appears and the mood returns to bawdy comedic chit chat, dashing any hope of anything that feels cohesive or novel.

    If you’re a huge fan of Miss Frisky then knock yourself out. This is her night and she’s largely only briefly interrupted in owning the stage. If you’re after something darker and more edgy and with some variety then there’s plenty more cabaret shows on the circuit.

  • THEATRE REVIEW | The Comedy About A Bank Robbery, The Birmingham Rep

    ★★★★★ | The Comedy About A Bank Robbery, The Birmingham Rep

     

    Mischief Theatre did it again! Masters of comedy and experts in dropping jaws, The Comedy About A Bank Robbery was another side-splitting hit.

Set in Summer 1958, Minneapolis City Bank has been entrusted with a priceless diamond. An escaped convict is dead set on pocketing the gem with the help of his sidekick who has a crush on him, his con girlfriend, and her con lover. A recipe for hilarious disaster.



    Liam Jeavons, Sean Carey, and Julia Frith did a sterling job at multi-role playing while showcasing dexterity in movement, voice and perfect comedic timing. Particularly stealing the show was Julia as Caprice whose constant tricking of lovers and the incessant charade playing to get out of sticky situations uplifted the very already funny production. Sean as Sam was a mastermind in roleplaying, switching from characters in a matter of minutes and fast changes of costume while never giving up the ‘act’ doing everything for his love, even spanking her boyfriend while they make love – it’s hard to explain; you have to watch it to see what I mean.



    Ruth was another shining gem, playing the mother of Sam, with an angelic voice and superb acting ability full of foxiness. Her energy was effervescent and though was not a key role, she always enhanced the scenes with her character. A very agile performance was seen by George Hannigan who played Caprice’s three lovers – in one scene, it was just George on stage portraying the three men at the same time, changing between each character with such fluidity that each one was clearly distinct.

    All other actors were subliminal too, for instance Damian Lynch who played Bank owner Robin Freeboys had a true command of each scene with intelligent comedic timing. His sidekick Warren Slax played by Jon Trenchard was a formidable entertainer too grabbing the audience by the heartstrings as he was always butt end of a joke or something going wrong.

    What was a real marvel was the set design which contained versatile/multipurpose sets mesmerising the audience. One piece was so jaw-dropping, which speaking to my plus one – thought the same, was the scene on the wall, where Jon and Damian were suspended from the ceiling and acted as if they were grounded! This just shows that Mischief Theatre continues to be bold, unique and dangerous! I hope they are writing the next one!

  • THEATRE REVIEW | The Play That Goes Wrong, Theatre Royal Brighton

    ★★★☆☆ | The Play That Goes Wrong

    The Play That Goes Wrong, Theatre Royal Brighton

    There is an old saying in theatre that “the show must go on” and nowhere is that old adage put more to the test than in The Play That Goes Wrong, a comedy of errors which collates every actor’s worst nightmare and throws them at the cast who are determined to carry on regardless.

    Borrowing heavily from The Mousetrap, The Play That Goes Wrong is a scattergun comedy set around the fictitious Cornley Polytechnic Drama Society, who is performing The Murder at Haversham Manor, a murder mystery set in the roaring twenties. Despite the best endeavours of the cast, nothing quite goes right for them, as scenery collapses, actors are knocked unconscious, props break and unprepared understudies stand in.

    With a varied blend of visual gags, slapstick, farce, wordplay, one-liners, missed cues and a rather more animated corpse than one would expect, the gags come thick and fast; some hitting the bullseye and others missing the target; but the whole thing is so fast-paced, that there is always another gag heading your way imminently. Garnering some genuine laugh out loud moments, the show has a sensible one hour forty minute runtime meaning that even if a few of the gags begin to outstay their welcome, the show does not.

    Whilst there is plenty of fun to be found and a lot of chuckles, guffaws and belly-laughs to be had, the ending of the show descends into a rather shouty and chaotic handful of closing scenes which, unfortunately, slightly takes the edge off of what has come before. But that said, the cast is delightful, in particular, Kazeem Tosin Amore; and there is some excellent split second comedic timing and plenty of physical dexterity on offer as the fictional cast try desperately to keep their faces straight, their upper lips stiff and prevent the performance collapsing into a catastrophe.

    *This review was taken from the Sheffield production*

    Book tickets for Theatre Royal Brighton through our ticketing partner ATG Tickets

     

  • THEATRE REVIEW | The Play That Goes Wrong, Princess Theatre Torquay

    ★★★☆☆ | The Play That Goes Wrong

    The Play That Goes Wrong, Princess Theatre Torquay

    There is an old saying in theatre that “the show must go on” and nowhere is that old adage put more to the test than in The Play That Goes Wrong, a comedy of errors which collates every actor’s worst nightmare and throws them at the cast who are determined to carry on regardless.

    Borrowing heavily from The Mousetrap, The Play That Goes Wrong is a scattergun comedy set around the fictitious Cornley Polytechnic Drama Society, who is performing The Murder at Haversham Manor, a murder mystery set in the roaring twenties. Despite the best endeavours of the cast, nothing quite goes right for them, as scenery collapses, actors are knocked unconscious, props break and unprepared understudies stand in.

    With a varied blend of visual gags, slapstick, farce, wordplay, one-liners, missed cues and a rather more animated corpse than one would expect, the gags come thick and fast; some hitting the bullseye and others missing the target; but the whole thing is so fast-paced, that there is always another gag heading your way imminently. Garnering some genuine laugh out loud moments, the show has a sensible one hour forty minute runtime meaning that even if a few of the gags begin to outstay their welcome, the show does not.

    Whilst there is plenty of fun to be found and a lot of chuckles, guffaws and belly-laughs to be had, the ending of the show descends into a rather shouty and chaotic handful of closing scenes which, unfortunately, slightly takes the edge off of what has come before. But that said, the cast is delightful, in particular, Kazeem Tosin Amore; and there is some excellent split second comedic timing and plenty of physical dexterity on offer as the fictional cast try desperately to keep their faces straight, their upper lips stiff and prevent the performance collapsing into a catastrophe.

    *This review was taken from the Sheffield production*

    Book tickets for Princess Theatre Torquay through our ticketing partner ATG Tickets

     

  • THEATRE REVIEW | Little Shop of Horrors – Regent’s Park Open Air Theatre, London

    THEATRE REVIEW | Little Shop of Horrors – Regent’s Park Open Air Theatre, London

    ★★★★☆ | Little Shop of Horrors – Regent’s Park Open Air Theatre

    There’s a human-eating plant in Regents Park, and the more it eats the bigger it gets – and it’s all at the wonderful Regent’s Park Open Air Theatre in the new show ‘Little Shop of Horrors.’

    On skid row in downtown Manhattan, a flower shop called Mushnik’s is not doing much business. But Seymour Krelborn (a wonderful Marc Antolin), who works at the shop owned by Mr Mushnick (Forbes Masson) has mysteriously acquired a plant, a plant so unlike any in the shop. It’s a plant that looks like a venus flytrap, but this plant is very different. It’s a plant he has called Audrey II (Vicky Vox plays the plant later in the show), named after the co-worker he is secretly in love with Audrey (Jemima Rooper). This plant doesn’t want water like all the other plants in the shop, as discovered by Seymour when he pricks his fingers and drips blood on the plant, and it’s happy drinking his blood. But the more blood Seymour feeds the plant, the bigger it grows, and soon enough Seymour can’t give any more blood to the plant, and it’s grown so huge that’s it’s become a celebrity (and so has Seymour). But how can Seymour continue to keep his plant happy and all the while attaining his new celebrity status (and the money that comes with it?). He has to give Audrey II more blood, and this includes people. The first to go into the plant is Audrey’s abusive boyfriend Orin Scrivello (Matt Willis – of pop group Busted). But who will be next? The plants keeps telling Seymour ‘I’m Hungry’ so he’s at odds as to what to do next. And this all takes place in the beautiful outdoor theatre.
    Playing until Saturday, September 22, ‘Little Shop of Horrors’ is great fun to watch. Let’s hope the good weather continues until the end of the shows run – as Little Shop of Horrors is best enjoyed when it’s not raining. The cast are all wonderful, and Vicky Vox is larger than life as the plant. With music and lyrics by Alan Menken and the late Howard Ashman, Little Shop of Horrors is still good fun and even better set amongst all those trees in Regent’s Park. Just be careful and don’t get too close to one, it might eat you!

  • 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 | The Play That Goes Wrong, Blackpool Opera House

    ★★★☆☆ | The Play That Goes Wrong

    THEATRE REVIEW | The Play That Goes Wrong, Blackpool Opera House

    There is an old saying in theatre that “the show must go on” and nowhere is that old adage put more to the test than in The Play That Goes Wrong, a comedy of errors which collates every actor’s worst nightmare and throws them at the cast who are determined to carry on regardless.

    Borrowing heavily from The Mousetrap, The Play That Goes Wrong is a scattergun comedy set around the fictitious Cornley Polytechnic Drama Society, who is performing The Murder at Haversham Manor, a murder mystery set in the roaring twenties. Despite the best endeavours of the cast, nothing quite goes right for them, as scenery collapses, actors are knocked unconscious, props break and unprepared understudies stand in.

    With a varied blend of visual gags, slapstick, farce, wordplay, one-liners, missed cues and a rather more animated corpse than one would expect, the gags come thick and fast; some hitting the bullseye and others missing the target; but the whole thing is so fast-paced, that there is always another gag heading your way imminently. Garnering some genuine laugh out loud moments, the show has a sensible one hour forty minute runtime meaning that even if a few of the gags begin to outstay their welcome, the show does not.

    Whilst there is plenty of fun to be found and a lot of chuckles, guffaws and belly-laughs to be had, the ending of the show descends into a rather shouty and chaotic handful of closing scenes which, unfortunately, slightly takes the edge off of what has come before. But that said, the cast is delightful, in particular, Kazeem Tosin Amore; and there is some excellent split second comedic timing and plenty of physical dexterity on offer as the fictional cast try desperately to keep their faces straight, their upper lips stiff and prevent the performance collapsing into a catastrophe.

    *This review was taken from the Sheffield production*

    Book tickets for Blackpool Opera House through our ticketing partner ATG Tickets

     

  • THEATRE REVIEW | The Play That Goes Wrong

    ★★★☆☆ | The Play That Goes Wrong

    There is an old saying in theatre that “the show must go on” and nowhere is that old adage put more to the test than in The Play That Goes Wrong, a comedy of errors which collates every actor’s worst nightmare and throws them at the cast who are determined to carry on regardless.

    Borrowing heavily from The Mousetrap, The Play That Goes Wrong is a scattergun comedy set around the fictitious Cornley Polytechnic Drama Society, who is performing The Murder at Haversham Manor, a murder mystery set in the roaring twenties. Despite the best endeavours of the cast, nothing quite goes right for them, as scenery collapses, actors are knocked unconscious, props break and unprepared understudies stand in.

    With a varied blend of visual gags, slapstick, farce, wordplay, one-liners, missed cues and a rather more animated corpse than one would expect, the gags come thick and fast; some hitting the bullseye and others missing the target; but the whole thing is so fast-paced, that there is always another gag heading your way imminently. Garnering some genuine laugh out loud moments, the show has a sensible one hour forty minute runtime meaning that even if a few of the gags begin to outstay their welcome, the show does not.

    Whilst there is plenty of fun to be found and a lot of chuckles, guffaws and belly-laughs to be had, the ending of the show descends into a rather shouty and chaotic handful of closing scenes which, unfortunately, slightly takes the edge off of what has come before. But that said, the cast is delightful, in particular, Kazeem Tosin Amore; and there is some excellent split second comedic timing and plenty of physical dexterity on offer as the fictional cast try desperately to keep their faces straight, their upper lips stiff and prevent the performance collapsing into a catastrophe.

    The Play That Goes Wrong is currently at Sheffield Theatres until the 4th August 2018 before continuing on its national tour.

  • THEATRE REVIEW | Titanic, The Musical, Liverpool Empire

    THEATRE REVIEW | Titanic, The Musical, Liverpool Empire

    ★★★☆☆ | Titanic – The Musical – Liverpool Empire

    Titanic - The Musical - National Tour review

    **This review was taken from the Sheffield production**

    Despite it being over 100 years since Titanic slipped under the waves, the fascination with the ship and those on board hasn’t faded, as evidenced by the packed house of this revival of Moury Yeston’s musical. The story of the ships maiden voyage and, ultimately, its demise is told through a wealth of characters from all classes of passengers and from the crew on board.

    The set, all sheet metal and rivets, towers above the audience instilling in them the impression of the sheer scale of the ship whilst a simple two-tier stage evoked an image of the decks and worked effectively. But from the off, the cast were on top form, as the magnificent ensemble belted out the opening numbers with such gusto that it reverberated in the chest, like the sounds of the engines of the great ship itself.

    And therein lays the strength of this production. Its cast was outstanding, and whether singing alone, in small groups or as an ensemble, the whole thing was beautifully sung and more akin to an opera than a musical. The three leads Philip Rham, Simon Green and Greg Castiglioni bounced off each other nicely as the Captain, owner and designer of the ship, and Niall Sheeny impressed as the stoker Fred Barrett. Whilst the direction was fairly minimal, the cast switched between their multiple roles seamlessly, spilling out into the aisles on occasions to engage the audience; whilst on a technical level, the lighting and sound design, the costumes and the balance between actors voices and orchestra were all absolutely spot on.

    Sadly, an overly long runtime, a handful of similar-sounding songs and a few too many story threads anchored down the first act to an extent, but the second act picked up the pace as the race to abandon ship took hold.

    What comes out of the production is an underlying theme of love between the characters, from the newlyweds to the eloping couple to the elderly husband and wife, and it is this which packs the emotional punch and brings the human cost of the tragedy sharply into focus.

    Book tickets to see Titanic, The Musical at Liverpool Empire until 4th August 2018

  • 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.