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 | Art

    ★★★ | Art, Sheffield Lyceum Theatre

    Art centres on a picture. A picture of some white lines. Some white lines on a white background. A picture which costs Serge £200,000. But is it art? His friend, Marc doesn’t think so, but Marc is a traditionalist and not a fan of modern art. Their friend, Yvan, is fairly indifferent, but is too busy focusing on his pending marriage and doesn’t want to offend either of them by agreeing or disagreeing. But over the course of an evening, the debate rages, and the three of them bicker, fall out and deliver some home truths; as the painting proves to me more of a talking point than they expected.

    Mark Thompson’s stage design is deceptively simple. The blank walls, the clean lines and the minimalist furniture all reflect the canvas in question, but looking closer, the set also reflects the three main characters, with three differently styled chairs reflecting each of their tastes.

    With so little on stage, Art heavily relies on its script and performances to hold the audience’s attention over the play’s 90-minute runtime. Yasmin Reza’s script (translated by Christopher Hampton) is wordy, fast-paced and remains sharp and witty, with some nice comedic elements and a satisfying pay off. Nigel Havers is well cast as Serge, carrying an air of superiority and condescension; Denis Lawson satisfies as Marc who favours the traditional over the modern; whilst Stephen Tompkinson upstages both of them, with a surprisingly impressive turn as Yvan, bringing laughter, pathos and emotion to the stage as the piggy-in-the-middle of the bickering group.

    Over 20 years since it landed in the West End, Art remains an enjoyable piece which in itself provokes debate as to whether its real intention is a serious point about the appreciation of art from an individual perspective, whether it is poking fun at the pretentiousness of the superiority that can accompany a highbrow point of view, or whether, Like Yvan, it sits somewhere in the middle.

    Art is at the Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until Saturday 21st April 2018 before continuing on its national tour. Visit www.arttheplay.com for full details.

  • THEATRE REVIEW | Northern Ballet’s Jane Eyre

    ★★★☆☆ | Northern Ballet’s Jane Eyre

    THEATRE REVIEW | Northern Ballet's Jane Eyre
    THEATRE REVIEW | Northern Ballet’s Jane Eyre

    In a timely revival, Northern Ballet celebrates one of the great literary heroines of all time, Jane Eyre, a fiercely strong and independent woman who moves from the unloving care of her Aunt to the strictness of the Lowood Institution; and subsequently on to Thornfield, the home of her employer and subsequently her true love.

    Cathy Marston’s choreography nestles neatly between traditional and contemporary ballet, and is set to a score which moves between being playfully uplifting and darkly dramatic. The Northern Ballet Sinfonia was on point with their performance, having swelled their numbers from the previous tour of this production.  The set is deliberately sparse, primarily comprising of screens and curtains which are used to focus the attention on particular areas of the stage and its simplicity compliments to complexity of the narrative and provides for a workable dance space; whilst the costumes give a flavour of the bleakness of the Yorkshire Moors which are occasionally peppered with bold colour

    Dreda Blow charms as the titular character, whilst Javier Torres gives a brooding and charismatic performance as Rochester; and Victoria Mason breathes life and insanity into the role of Rochester’s wife. In a company which danced with technical precision across the board, Mlindi Kulashe and Kevin Poeung both stood out from the ensemble and their consistency of performance and development from ballet to ballet continue to impress.

    Given the rich story and the numerous events depicted in the book, there is a lot for Marston to fit into the ballet’s two hour run time, and whilst the key plot points are hit; the narrative is not always as clear as it could be. Those familiar with Bronte’s work will find much to enjoy within this production, whilst others may find the programme notes useful in keeping track.

    That aside, Jane Eyre is a ballet which contains a flowing visual style, rich characterisations and a faithful adaptation of a timeless story which manages to maintain a feeling of freshness and originality in a frequently told tale.

    Northern Ballet’s Jane Eyre is at Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until 14th April 201, moving to Cardiff New Theatre, London Sadlers Wells and The Lowry, Manchester. Visit www.northernballet.com for details.

  • THEATRE REVIEW | The Service at Café de Paris

    ★★★★★ | The Service, Cafe De Paris

    Café de Paris in Central London is host to The Service – the best burlesque and cabaret show in town.

    The Service is a theatrical and highly immersive show that is unique in that it takes the audience back to the time that Café de Paris was a roaring club back in the 1920s, through to the 40s – it’s one of the world’s most renowned clubs. The Service plays such jaw-dropping performances that capture the history of the club – it’s amazing nine-decade history. The Service is fast-paced, hilarious, outrageous – it’s a fun and sexy night where the ghosts of every era of Café de Paris come alive.

    Told by the very funny and sarcastic Reuben Kaye – the evening’s host and Maitre d’ – who guides us through the evening by a gang of performers who bewitch, bewilder, and excite the audience. it’s an unforgettable experience and an unforgettable night. And hot and sexy Craig Gadd ends the show in a moving and memorable performance of balancing on one hand while war footage is displayed on his chest – it’s a pinch-me moment. Even Josephine Baker makes an appearance. The Service is must-see cabaret in a venue made for cabaret.

    THE CAST

    Prepare to be captivated by the brilliant, award-winning, internationally acclaimed cast. Princess Margaret is played byBettsie Bon Bon– known as ‘the body of burlesque’ and voted Best Burlesque Performer 2016; whilstSammy Dinneen, aka the Valet, is one of the best and most technical hand balancers in the UK. Ken ‘Snakehips’ Johnson, the star of Britain’s black swing movement in the 1940s, is played by Korri Aulakh, who trained at the National Centre for Circus Arts and the National Circus School of Montreal.

    Anna the Hulagan, who plays The Club Kid, is one of the UK’s leading hula hoop teachers, best known as ‘London’s cult hula hoop artiste’ (The Times). As the winner of the Triple Crown award at the World Burlesque Games, Hulagan delivers performances that are as fun as they are sexy.

    For an unforgettable evening of entertainment, there is nowhere more magical to celebrate than at the world-famous Café de Paris.

    Tickets for Café de Paris’ The Service can be purchased via Design My Night

     

    Café de Paris

    The Service: 18:00 – 22:15 Nightclub: 22:15 – 03:00

    3 Coventry St, London W1D 6B

    The Service launched Friday 23rd March and takes place every Friday thereafter.

    Ticket Information

    General Admission – enjoy the show from Café de Paris mezzanine with waiter and bar

    service – £20 per person

    2-course dining (starter and a main) in the main ballroom – £55 per person

    3-course dining (starter, main and dessert) in the main ballroom – £60 per person

    Gold Package (6 guests minimum) – Reserved seats, canape platters & drinks – £75 per person

    VIP dining – 3-course dining, half a bottle of prosecco per person and best seats: £80 per person

  • THEATRE REVIEW | Devil With the Blue Dress, The Bunker

    ★★★★☆ | Devil With the Blue Dress, The Bunker

    THEATRE REVIEW | Devil With the Blue Dress, The Bunker
    Devil With the Blue Dress, The Bunker

    If you’re old enough to remember 1998 then you’ll recall a lot of fuss about a certain chalky stain down the front of Monica Lewinsky’s dress and a gag-worthy tale of a cigar being inserted into somewhere distinctly non-oral. Old news? Well, yes and no. Whilst Monica might not have dry-cleaned that dress, Hilary Rodman Clinton certainly cleaned up in the popularity polls and a chain of events began that came to an abrupt halt during the recent election. Sometimes being the wronged wife has its fringe benefits and the other woman isn’t always the villain of the piece.

    Kevin Armento’s witty take on the tale is a meta-theatrical absurdity. The characters know they’re in a play and the story is told by five women who featured in the story of Bill definitely ‘having sexual relations with that woman’. Hilary and Chelsea and the Bill’s secretary/go-between meet on stage with Monica and her confidante/betrayer Linda. Bill doesn’t appear but is voiced by the women around him as well as a plaintive saxophone. Whilst it’s a clever piece, it occasional lacks dramatic climax (unlike Mr Clinton) and feels more like reportage but it’s fun and thought-provoking nonetheless.

     

    Booking now

  • THEATRE REVIEW | Fat Friends The Musical – Birmingham

    ★★★☆☆ | Fat Friends The Musical, Birmingham

    *Review taken from the Sheffield production*

    As her wedding day approaches, Kelly buys her dream wedding dress, even though it is two sizes too small for her.

    When Julia Fleshman, the head of a national slimming club chain, comes to town to judge a slimming contest live on TV, Kelly ends up going viral with her body confident comments; and seizing the opportunity for some publicity, Fleshman offers to pay for Kelly’s wedding if she can slim into the dress in time for the big day. But with the wedding only six weeks away, the pressure is on…

    Fat Friends is very much a piece of crowd-pleasing theatre. Pulling together multiple stories of the good folk of Headingly, a town near Leeds, the stage is filled with likeable, if slightly caricatured, characters and is a straightforward evening of undemanding fun.

    The show boasts a good cast, with Jodie Prenger taking the lead as Kelly, and doing so with a cocky northern confidence and a belting singing voice. Sam Bailey (The X-Factor) is great as Kelly’s Mum and Natasha Hamilton (from Atomic Kitten) is the scheming Julia Fleshman. Thrown into the mix is an affable turn from Kevin Kennedy (Coronation Street) and ex-cricketer Andrew “Freddie” Flintoff, who takes to the stage and fares better than expected with a slightly stilted, if not tongue in cheek, portrayal of Kevin, Kelly’s nice but dim fiancé.

    The songs are amiable enough and used to move the story forward, and whilst they were perfectly pleasant to listen to and shoehorned a few laughs into the lyrics, they served their purpose well enough in terms of keeping up the show upbeat and jolly, but were ultimately fairly forgettable. The live orchestra added to the atmosphere within the theatre and the set design was a colourful cartoonish affair which was well lit and effective in its simplicity.

    Written and directed by Kay Mellor, who wrote the original TV series that the show is based on; Fat Friends is a rather loud, boisterous and upbeat show, which really resonates with its target audience. It’s a rather clichéd musical by numbers, with a heavy-handed script, fairly trite lyrics and a rather unsubtle approach to its humour, but what it lacks in sophistication, it makes up for with likeable characters, a few good belly laughs and buckets-full of near the knuckle, northern charm.

    Fat Friends is at the New Alexandra Theatre, Birmingham until the 7th April 2018, book tickets click here

  • The Inheritance, The Young Vic

    The Inheritance, The Young Vic

    ★★★★★ | The Inheritance, The Young Vic

    It’s a bold move to schedule nearly 7 hours of theatre about the lives of gay men, by a writer who’s largely unknown in the UK and hope that people take a punt on it without fear of boredom or backache. It’s paid off here though, as the run is almost sold out. Maybe the draw is ‘The Crown’ (the director of the plays is Stephen Daldry) or the recent epidemic of boasting about having sat through a day of ‘Angels in America’ at The National. Whatever the reasons, they’ve scored a winner with this two-parter. It’s a magnificently acted and tightly scripted piece of theatre which is both thought-provoking and incredibly moving.

    The plays look at the lives of a group of sometimes self-satisfied/dissatisfied and hedonistic/troubled gay men in New York a generation after the AIDS crisis was at its height. Although there’s lots of issues raised it’s also a very entertaining and human piece of character-driven storytelling with moments of wry comedy.

    Based directly on E.M. Forster’s ‘Howard’s End’, but with gays, it’s like a fat and occasionally filthy novel and it’s definitely a page-turner. The action is played out on a sparse set by barefoot and occasionally bare bottomed actors and one actress (Vanessa Redgrave pops in for 20 minutes). The concept is that the men are part of a writing group looking at writing their experiences, mentored by the Edwardian author. Bizarrely, this works really well and acts as a perfect backdrop for the action. You can binge watch it like it’s on Netflix or take the DVT free option and see it over two nights. Whichever, it’s worth grabbing one of the few remaining tickets.

    Runs at The Young Vic until 19th of May 2018

  • THEATRE REVIEW | The York Realist – The Crucible Theatre, Sheffield

    THEATRE REVIEW | The York Realist – The Crucible Theatre, Sheffield

    The York Realist

    Set in the 1960’s, hard-working Yorkshire farmer, George, is volunteered for a part in the York Mystery Plays by his busy-body (and somewhat devoted) neighbour; where he meets and falls in love with John, the London based and rather cosmopolitan assistant director. But despite their feelings for each other, the difference in their two very different worlds soon becomes apparent.

    Director Robert Hastie shepherds the cast with skill, never shying away from the intensity and emotional impact of silence and pause in the midst of the drama; and eliciting quality performances from the cast with an unassuming ease. Jonathan Bailey (Broadchurch) and Ben Blatt (Spooks) excel in their respective performances as John and George, having a terrific on-stage chemistry and engaging in performances which were wholly absorbing, touching and brimming with genuine emotion.  Brian Fletcher’s monosyllabic character of Jack brought some of the lighter moments within the piece, whilst Lesley Nicol (Downtown Abbey) brings a warm and instantly recognisable charm to her portrayal as the down to earth matriarch of the family, which is as homely as the cottage kitchen that makes up the stage.

    Peter Gill’s script vacillates from fast-paced, northern-humour filled dialogue to long silent pauses of emotional drama with ease; and is reflective of the changes in society at the time, both in terms of the progress of modern life and the beginning of a change in attitudes. There is an underlying reticence of some of the characters to move on into the modern world, which mirrors the cautious approach of John and George to their relationship; and, in particular, whether George lives his life for himself or for others, despite his family’s unspoken acceptance of his sexuality. There is a real tension between the old-fashioned values and the familiar feel of a comfortable, established life and the progression into a time of social and economic change; which sits alongside a head-on clash of city and country life and a disparity between the social class of the protagonists.

    Running at Sheffield’s Crucible Theatre until 7th April 2018, The York Realist is a touching, tender and tear inducing piece of heartfelt and beautifully understated theatre; with solid central performances from two actors with a genuine on-stage chemistry, and enough Yorkshire humour to satisfy the home crowd.

    Visit www.sheffieldtheatres.co.uk for tickets and details.

  • THEATRE REVIEW | Kiss of the Spiderwoman, Menier Chocolate Factory

    ★★★☆☆ | Kiss of the Spiderwoman

    Kiss of the Spiderwoman, Menier Chocolate Factory
    Kiss of the Spiderwoman, Menier Chocolate Factory Review

    Manuel Puig’s story of two men incarcerated in a brutal Argentinian prison is a funny and moving take on masculinity and oppression. Molina is a campy window dresser with a love of old B movies who’s inside for ‘gross indecency’ whilst Valentin is a gruff political activist, bristling with macho ego. It’s a claustrophobic piece and at 1 hour 40 minutes with no interval, you’re pretty much imprisoned with them, watching their relationship develop in a grim cell.

    Kiss of the Spiderwoman has had many adaptations since it was written as a novel in 1976 including stage plays, the Oscar-winning 1985 film and a Kander and Ebb musical. This new version is beautifully scripted but somehow the play as a whole doesn’t feel quite there. Samuel Barnett almost captures the endearing feyness of Molina but there’s something slightly undercooked about the portrayal. Declan Bennett seems to struggle a little and the lines occasionally feel stilted. It’s more hit than miss but the piece doesn’t quite feel as tight as it should and the chemistry between the two isn’t always present.

    The set is grimily evocative and the back projections of Molina’s flights of celluloid fancy work well. Overall it’s an endearing piece and worth seeing for the glimpses of what it could have been.  There are achingly poignant moments which are something to embrace.

    Runs at the Menier Chocolate Factory until 5th of May 2018

  • THEATRE REVIEW | Fat Friends The Musical – Manchester

    ★★★☆☆ | Fat Friends The Musical, Manchester

    *Review taken from the Sheffield production*

    As her wedding day approaches, Kelly buys her dream wedding dress, even though it is two sizes too small for her.

    When Julia Fleshman, the head of a national slimming club chain, comes to town to judge a slimming contest live on TV, Kelly ends up going viral with her body confident comments; and seizing the opportunity for some publicity, Fleshman offers to pay for Kelly’s wedding if she can slim into the dress in time for the big day. But with the wedding only six weeks away, the pressure is on…

    Fat Friends is very much a piece of crowd-pleasing theatre. Pulling together multiple stories of the good folk of Headingly, a town near Leeds, the stage is filled with likeable, if slightly caricatured, characters and is a straightforward evening of undemanding fun.

    The show boasts a good cast, with Jodie Prenger taking the lead as Kelly, and doing so with a cocky northern confidence and a belting singing voice. Sam Bailey (The X-Factor) is great as Kelly’s Mum and Natasha Hamilton (from Atomic Kitten) is the scheming Julia Fleshman. Thrown into the mix is an affable turn from Kevin Kennedy (Coronation Street) and ex-cricketer Andrew “Freddie” Flintoff, who takes to the stage and fares better than expected with a slightly stilted, if not tongue in cheek, portrayal of Kevin, Kelly’s nice but dim fiancé.

    The songs are amiable enough and used to move the story forward, and whilst they were perfectly pleasant to listen to and shoehorned a few laughs into the lyrics, they served their purpose well enough in terms of keeping up the show upbeat and jolly, but were ultimately fairly forgettable. The live orchestra added to the atmosphere within the theatre and the set design was a colourful cartoonish affair which was well lit and effective in its simplicity.

    Written and directed by Kay Mellor, who wrote the original TV series that the show is based on; Fat Friends is a rather loud, boisterous and upbeat show, which really resonates with its target audience. It’s a rather clichéd musical by numbers, with a heavy-handed script, fairly trite lyrics and a rather unsubtle approach to its humour, but what it lacks in sophistication, it makes up for with likeable characters, a few good belly laughs and buckets-full of near the knuckle, northern charm.

    Fat Friends is at the Opera House Manchester until the 24th March 2018, book tickets click here

  • THEATRE REVIEW | The Kite Runner, Birmingham Rep

    ★★★★☆ | The Kite Runner,  Birmingham Rep

    Gritty, raw and a history lesson like no other.

    The Kite Runner, by Khaled Hosseini, is a sensational book and it made critical acclaim as a film too, so expectations were always going to be high. Adapted by Matthew Spangler, The Rep play version created a new window to look through the melodrama and tragedy surrounding the life of Amir.

    The story centralises itself around Amir, a well-to-do Pashtun boy, and Hassan, a Hazara who is the son of Ali, Amir’s father’s servant. Hassan is the fastest kite runner the town has ever seen, and he teaches Amir the art, all so Amir can impress his stone-faced father.

    This must have been a hard concept to attempt to translate from a novel page to a main house stage, but Barney George’s design painted a very raw picture. The set moulded itself to suit outside and indoors with little effort. Fluid scene changes via media projections, and a curtain in shape of a kite which was used to shield viewers from hard-to-watch moments. Live percussion, performed by Hanif Khan, brought a mystical layer to the melodrama. The sound effects were also harrowing in parts.

    What made this production special was the cast of The Kite Runner. Raj Ghatak, as Amir, really helped us see the character come to life through language, enacting young and older Amir, as well as punchy speeches with sincere conviction. Jo Ben Ayed stole the show, with his portrayal of Hassan, formidable dexterity in playing a young boy while showing mature emotions. Jo’s characterisation contributed to the emotional experience felt in The Rep auditorium. The unrelenting loyalty to Amir was masterfully achieved by Jo. The boys’ fathers Baba and Ali played by Gary Pillai and Rez Kabir respectively, enhanced the sense of tradition and honour. Both actors shone, adding a darker tone to the narrative. Assef was a sickly and revolting character, played expertly by Soroosh Lavisini.

    Soroosh’s movement and speech was skin-crawling and made it hard to watch, but this was a true depiction of the nasty and malevolent personality.

    This production is close to three hours long, but through gripping action, efficient set, light, sound and everything else involved, The Kite Runner left us with the feeling we could have watched more.

    The Kite Runner runs at the Birmingham Rep until the 24th March 2017

  • THEATRE REVIEW | Brief Encounter, Empire Cinema Haymarket

    ★★★☆☆ | Brief Encounter

    Emma Rice’s tribute to Noel Coward’s Brief Encounter is back after 10 years away and in an unusual venue: a cinema in the West End.

    Emma Rice’s tribute to Noel Coward’s Brief Encounter is back after 10 years away and in an unusual venue: a cinema in the West End. Sadly it’s not a triumphant return and is a bit of a mixed bag. Part parody, part homage; it just doesn’t quite know what it is and suffers as result.

    If you don’t know the classic David Lean film from 1946 (where have you been?) then it’s a story about two married strangers from the suburbs who conduct a very chaste affair in and around a railway station cafe. It’s characterised by tight dialogue, clipped accents and Celia Johnson smoking an unfeasible amount of fags. It’s very much of its time but also contains beautiful and resonant dialogue. The Kneehigh theatre company’s version is one full of trickery. The cast act out the story against clever back projections, sometimes literally bursting out of the cinema screen. There are cheeky little props, the odd Noel Coward song and lots of deft little touches.

    Whilst the two main actors play it straight as the po-faced couple headed for heartache, the rest of the cast camp it up as the remaining bit players. This is where the problem lies. It all becomes too much and a bit panto at times. There’s lots of face pulling, whimsy and larking around. Whilst it works part of the time it all feels a bit much at others. Less is sometimes more.

    Overall, it’s a fun show but I’m not sure it’s going to rock anyone’s world.

    Brief Encounter runs at the Empire Cinema Haymarket until September 2018