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 | La Bohéme – Trafalgar Studios, London

    ★★★★★ | La Bohéme

    La Bohéme, an opera in four acts, had its world premiere in 1896 in Turin, Italy. Since then, it’s been copied and re-interpreted in so many different ways that each version is unique in its own way. Another reincarnation of this very famous opera has just recently opened up at Trafalgar Square Studios, and it’s definitely one Londoners can identify with.

    This version of La Bohéme, written by Adam Spreadbury-Maher and Becca Marriott, had its debut at the King’s Head Theatre last year. And luckily for us, it’s making a return in a central London venue. Set in present-day East London, the show presents to us broke and down and out young men and women who can barely scrape together money for the rent, or in one case, to buy drugs.

    Ralph and Mark (Roger Paterson and Thomas Isherwood) are roommates in a flat on Christmas Eve in Dalston, and when someone knocks on their door, they instinctively hide because they suspect it’s their landlord collecting rent – they even have a window that acts as a backdoor to escape. Then there is Mimi (Marriott), broke and very thin, and always cold, who finds her way into the boys’ flat and meets Ralph – they have an instant connection and take a liking to each other.

    Then there is Musetta (Honey Rouhani), who, with her beautiful looks and luscious lips and curves that go on for miles, is the troublemaker and ingénue who sweeps in and out and leaves her mark. If these characters sound familiar, they also make up some of the cast of the characters of Rent – that classic 1990’s musical rock opera that won a slew of awards, with very memorable songs such as “Seasons of Love” and “Take Me (For What I Am)”. Rent has withstood the test of time as one of the greatest musicals ever made.

    La Bohéme is also very good – it’s an opera for this generation, a generation that seems to live life through their mobile phones 24/7. And this La Bohéme involves a bit of audience participation – Musetta gets cosy with some uncomfortable-looking male members of the audience, while Mimi asks for spare change – it’s surreal and hard-hitting but even more so when those who get asked all shake their heads and say no, with a look of guilt on their faces. Trafalgar Studios is quite a cosy place to put on a show this big, but it works. The cast is all amazing, and by the end, I almost really believed what I saw was real. The cast (some of the actors rotate with other actors on various nights) are accompanied by the Musical Director, Panaretos Kyriatzidis, on piano and Alison Holford on cello. It’s a must see!

    La Bohéme is now playing at Trafalgar Studios until January 6, 2018

  • 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 | Callisto a queer epic, Arcola Theatre, London

    ★★★ | Callisto, Arcola Theatre London

    CREDIT Lidia Crisafull

    Callisto is four tales for the price of one in a time travelling epic concerning queer people in different eras. They’re not stand alone stories but are interspersed and entwined with each other. Basically, it’s a poor man’s ‘Cloud Atlas’ but with LGBT people. The first tale is about opera singer Arabella who’s married to another woman and about to be exposed and get herself in some serious trouble. Secondly, Alan Turing is talking to the mother of the boy who was his first love. Thirdly, Tammy is on the trail of a hot porn actress who she’s become infatuated with. Finally, CAL is an A.I. in the future who’s fallen for a human.

    They’re a mixed bag of plays which don’t all work as well as they might and there’s something derivative about the whole set-up at times. The scenes about the 17th-century female couple are the strongest and the Alan Turing scenes are cleverly written but lack much drive, floundering in parts. The other two sections fare less well, especially the futuristic part. If the future involves talking in strange mixed up speech whilst wearing bicycle lights shining down your legs and tee-shirt, culottes combos with odd side ties then count me out of it.

    The production has merits with strong acting and a wry sense of humour but doesn’t quite fill its potential. Regardless, it’s an engaging evening and worthy of a look.

    Callisto a queer epic is playing at the Arcola Theatre, London

     

     

  • THEATRE REVIEW | The Hundred and One Dalmatians, Birmingham Rep

    ★★★★ | The Hundred and One Dalmatians, Birmingham Rep

    REVIEW | The Hundred and One Dalmatians, Birmingham Rep

    tail-waggingly brilliant.

    The Hundred and One Dalmatians, a childhood favourite, presented by the Birmingham Rep, had fun, laughs and tasty treats of darkness. The puppets, designed by Jimmy Grime, were a show-stealer. The way in which they moved and looked was so real – you had to blink to realise they were not real.

    A very commendable performance for all the artists who held/manoeuvred the animals. The dogs looked bizarrely realistic, with the heads at the right scale of the real species – most realistic was the Afghan Hound. The puppetry/dog handlers were incredibly agile, mixed with exquisite acting and singing really enhanced the narrative. Oliver Wellington (Pongo) was particularly impressive with his dextrous movement and voice. The way he showed the jovial and clumsy nature of Pongo was a good connect to pet owners in the audience, receiving many laughs. Equally, Emma Thornett (Missis) did very well with the emotional scenes with the movement adding superbly to the drama. The astute projection of the dog’s feelings by Emma onto Missis was incredibly captivating. You could hear the emotion in the artist’s voice and felt naturally compassioned while watching the puppet.

    The second duo who really entertained were the Badduns: Jasper (Lewis Griffin) and Saul (Luke Murphy). The two men hired to do the deed with the puppies were hilarious and really lifted the show. The actors’ mastery of comedic timing, audience interaction, and versatility of movement raised the level of brilliance. Lewis, in particular, gave every bit of himself with Jasper, leaving no stone unturned in making the kids and adults laugh.

    Cruella De Vil (Gloria Onitiri) was excellent and as cruel and devilish as I had hoped. I am sure Glenn Close would have really enjoyed her performance too. Her appearance was perfectly fitting to the role; her voice was harrowing and malevolent, creating darkness so subliminally. My favourite moment of the whole show was when Cruella sang ‘Skin It’ and hitting the last note with such deep and menacing tones really was a goosebumpy moment.

    Mr and Mrs Dearly played by Morgan Philpott and Nadi Kemp-Sayfi respectively were great too. Morgan showed good variety with playing the Sheepdog. I think the puppets drowned them out a little though, and sometimes the puppet actors speaking for the dogs, mixed with Mr and Mrs Dearly talking, created a distraction and was not always sure who was talking, or where to look.

    This show has to be watched, and though there were heavy Christmas overtones, it is a classic I would watch all year around.

  • THEATRE REVIEW | ELF: The Musical, Lowry Theatre, Salford

    ★★★★★ | ELF: The Musical

    Tuesday Night was a star-studded affair as the North West’s celebs walked down the red carpet at The Lowry Theatre adorned with a large red sleigh. Everyone from Corrie’s Kym Marsh and Brooke Vincent, Real Housewives of Cheshire Lauren Simon and even X Factor star-turned-gay pin-up Lloyd Daniels (yes, he’s just as gorgeous up close) were in attendance. The reason? ELF: The Musical.

    To sum it up in one word would be an injustice but if had to do it’d be: transcendent. I entered the theatre with slight apprehension that one of my favourite Christmas films would be turned into a mushy pantomime but I am thrilled to say I was wrong. A script scattered with hilarious jokes (though some more New York-based one-liners didn’t quite resonate with a Salford audience) about everything from Donald Trump to the recent news headlines about certain “physical misconduct” were paired with amazing feats of physical comedy.

    The show’s star, Ben Forster, is a tour de force channelling his inner Will Ferrell as Buddy the Elf. Everything from his mannerisms to his body movements had all the audience members in hysterics and you couldn’t help but feel his pure joy. Ben remained high energy throughout, hitting you even harder during his low points. Joe McGann is divine as Walter Hobbs, Buddy’s Dad, a workaholic who has no time for Christmas nor his family and is backed up ably by the fantastic Jessica Martin as wife Emily and a confident turn by the young Lochlan White as his son Michael. A personal highlight for me was Liz McClarnon in the role of Jovie, Buddy’s girlfriend. The ex-Atomic Kitten star sounded amazing and watching her turn from jaded New Yorker to a Believer was thrilling at every turn.

    I could also write endlessly about the extremely talented supporting cast and the high energy and very game ensemble but I have to single out Lori Haley Fox as Deb, Walter’s hapless secretary. Rare have I seen such amazing comedy timing. Reminiscent of Julie Walters, Lori’s slapstick movements and characterisation remained high-energy throughout the entire show and was pure comedy from the start. Every appearance she made was met with pure joy from the audience and, deservedly, received huge applause at the end. I felt, in that moment, I was watching a star.

    The songs themselves were not particularly memorable but I enjoyed every single one. Unlike many other musicals, Elf doesn’t seek to impart any larger metaphorical wisdom with its songs instead allowing every number to play a vital part in moving the story along. Highlights include ‘World’s Greatest Dad’ where we get a feel for Buddy’s enthusiasm and desire to have a present and caring Father which makes it even more crushing during the reprise, when Buddy begins to lose hope. Then there’s the call-to-Christmas-arms barnstormer ‘Sparklejollytwinklejingley’ (complete with impossible-to-imitate hand-ography). ‘A Christmas Song’ invites us all to simply sing to get into the Christmas Spirit whilst Act Two’s ‘Never Fall In Love With An Elf’ is a hilarious listicle of why dating an Elf may be a bad idea. However, as much as the choreography and energy of each number was comparable to the best and brightest of Music Theatre, the songs themselves failed to provide any sort of earworm. Shows like Wicked have their anchor numbers like ‘Defying Gravity‘, Elf was missing that big song you can’t get out of your head.

    The show went all out and the investment was clear. The entire cast acted and sang with all their heart and their hard work showed on the stage. It was a balls-to-the-wall feast of glee. The lighting and special effects were world class, complete with in-theatre snow and a flying sleigh. Elf did not leave you feeling that it was missing anything and I defy anyone to watch the show and not be excited for Christmas. The show is also very inclusive, with a diverse ensemble which included two gay characters, one of whom is told by Buddy that you can “never have too many boyfriends”.

    I can not recommend this show enough. Whilst the ticket pricing is a little steep if you’re a larger family, it is worth going if you can or I fear you will risk missing possibly the best musical to come to Manchester to date.

  • THEATRE REVIEW | Boys in the Buff, Kings Head Theatre, London

    ★★★ | Boys in the Buff

    The Full Monty. Naked Boys Singing. And put Boys in the Buff in that category.

    Yes, these are shows where the male cast take their clothes off and sing and act (a bit) for the audience. Of course, The Full Monty was the biggest of the bunch (biggest I mean most popular – ahem). Naked Boys Singing was the gayest, and Boys in the Buff is in a category all by itself – the campiest!

    Four good-looking young men and a voluptuous compere entertain us with their flare, razzle-dazzle, and their bits (well not the compere – who is female!) in a show with witty and cute songs and dialogue but perhaps lacking in good taste, and in a couple of cases, passable acting! But singing, and acting, is not what this show is all about – we’re left in anticipation of waiting, and wanting, for the boys to take their clothes off. In the meanwhile, we are treated to really fun songs like ’Size Doesn’t Matter,’ ‘Does My Bum Look Big in This,’ and ‘Let it All Hang Out,’ and dreadful ones that include ‘Dancing in the Semi-Nude’ and ‘My Foreskin and Me.’ There’s also audience participation much to the delight (not) of the audience. But in the intimate confines of the Kings Head Theatre, where the first two rows are so close to the stage it’s almost a crime, the boys really pour out their hearts, and display their bits, for us soldieringly. Adam Mroz is so cute and sexy; you just want to take him home and put him on your bookshelf! Hunky Adam O’Shea, who was in the original production at the Lost Theatre this past summer, brings his muscles with him, – he’s certainly got pecs-appeal! Daniel Timoney is along for the ride, as is Eli Caldwell. But Shani Cantor is just fab fab fab as the hostess with the mostest! All in all, it’s one hour of fun!!!

    Boys in the Buff plays at The Kings Head Theatre until Dec 9th, 2017

     

  • THEATRE REVIEW | The Black Cat Cabaret, Leicester Square, London

    ★★★★★ | The Black Cat Cabaret, Leicester Square, London

    The Black Cat team are riding high with their unique brand of impish entertainment. They’ve got regular shows at Live at Zedel at Piccadilly and now they’ve invaded the cheesy Christmas market in Leicester Square and landed in the glamorous, mirrored 1920s Paradiso Spiegeltent. Move over wooden huts, mulled wine in a plastic cup and greasy sausages. The Black Cat has infiltrated and is throwing all tackiness aside in favour of subversive fun.

    The line-up is ever changing but you can expect circus, cabaret and burlesque. There’s also bound to be some testosterone pumped male torsos to liven up a chilly winter evening. Regular host Dusty Limits is a deadpan joy as he oozes cynicism and wit. It’s a well-curated blend of acts and one with an eye on intelligent parody rather than cheap thrills. Naturally and thankfully, there are also cheap thrills.

    The problem with cabaret and burlesque is that after a few visits it can feel like you’ve seen it all and you can be left thinking: Oh, another fire-eater. Oh, another hula hooper. Oh, another semi-naked man in a giant wheel type thing. The Black Cat is careful to only chose acts that have a bit more to add, acts that play with the form and respectfully make fun of it, as well as themselves. I was lucky enough to see the hilarious drag star Meth strutting her stuff as well as an array of dark circus acts, a bizarre string quartet and the most comically disaffected hula hoop act that I’ve ever seen.

    Brighten up a winter night and stroke the pussy if you dare. The Black Cat can bite but he also entertains. Oh, wear a warm coat and knock a few Egg Nogs back too. It’s bloody freezing in that wooden tent.

    The Black Cat runs on Thu 30th Nov 7.30 PM, Sat 9th Dec 7.30pm, Sat 16th Dec 7.30 PM, Thu 28th Dec 7.30 PM, Sun 31st Dec 6.30 PM – 2 AM at Leicester Square

  • THEATRE REVIEW | The Tailor-Made Man, White Bear Theatre, London

    ★★★ | The Tailor-Made Man, White Bear Theatre, London

    Listen up! There’s a Hollywood film star who’s riding high with a string of hits. He’s handsome, suave and funny, bagging awards and melting hearts as he stares into the eyes of and kisses the faces off the hottest female stars around. The gossip is, though, he’s secretly gay: lacking in boundaries and groping handsome younger men on set, loitering in cruising grounds and having dalliances with fit sailors. The word is that he also has a sweet interior designer boyfriend waiting patiently at home. Oh, my is this about to come crashing down! You know this story from the internet gossip sites?

    Maybe you do, maybe you don’t but no, it’s not 2017 but the 1920s and the story of Billy Haines who’s films were consigned to the vaults after he refused to marry a ‘beard’ and was caught with his pants down once too often. It’s an interesting and prescient story and one that this play presents in technicolour glory.

    Handsome Mitchell Hunt (Mister Selfridge) heads up this universally strong cast and director Bryan Hodgson has tightened the occasionally clumsy script into something pacy (that’s pacy. Not Spacey). It’s not exactly deep and there’s minimal characterisation with it often feeling like a dramatised Wikipedia entry being put on show. The humour is the best aspect and hits more than it misses. None of that matters though with actors like these and the parade of stunning vintage costumes and props by set and costumes designer Mike Lees. There’s a mind boggling array of costume changes and some beautiful set pieces. It’s a joy to watch and an interesting story to witness unfold.

    The White Bear is a comfortable theatre space within a rather stylish and recently renovated pub and is only a short tube ride from Leicester Square. Head down to Kennington for a slice of gay history that has particular relevance today. Oh, those costumes too. You’ll be hard pressed not to want to sneak backstage and grab a few pairs of slacks and a jacket to take home.

    The Tailor-Made Man plays at the White Bear Theatre until 25th November 2017

  • THEATRE REVIEW | The Retreat, Park Theatre, Finsbury Park, London

    ★★★★ | The Retreat, Park Theatre, Finsbury Park, London

    THEATRE REVIEW | The Retreat, Park Theatre, Finsbury Park, London

    Buddha, Cocaine and a Porn Mag are surprising bedfellows in this funny, warm and thoughtful debut play by Peep-Show co-creator Sam Bain.

    Luke (Samuel Anderson) is in a Buddhist retreat – his every day a blissful mix of meditation, mindfulness and isolation in the Scottish Highlands. That is until his brother Tony (Adam Deacon) arrives. With him come memories of a troubled childhood, and reminders for Luke of the life he left behind in London. Is Tony everything that was wrong with Luke’s life, or the only one that can see into his soul? And is Luke’s fellow Buddhist Tara (Yasmine Akram) – beautiful, spiritual Tara, only keen to help Luke achieve karma, or does she hold ulterior motives?

    The Retreat is a play by Sam Bain – co-writer and co-creator of Peep Show, Fresh Meat and Four Lions. Bain spent an earlier period of his life living in a Buddhist retreat, and regularly practised meditation and mindfulness, so my initial fear was that this play could go one of two ways – either be packed full of pro-Buddhist PR, or full of jokes making fun of Buddhism and those who practice it. A misplaced fear, it turns out, as The Retreat treads a far more interesting path – exploring the collision between the Buddhist themes of calm, isolation and peace with the more western rush of drink, drugs, and money.

    Characters Luke and Tony serve as cleverly portrayed devices through which Bain explores his themes, and it works very well indeed – the script raises interesting questions to the audience but never veers into preaching or sneering at any particular life choice. With Bain’s resumé you may assume that The Retreat is packed full of jokes, and you’d be correct – they come thick and fast throughout but are set up naturally by the cast – Adam Deacon’s Tony delivering the vast majority of the punchlines with effortless calm, and a real highlight being a monologue about meditation, Will Smith and Harry Hill that had me, and the audience, in absolute stitches.

    My only real issue with the jokes is that the frequent nature of them meant a fair few were lost by the audience entirely – a shame, given just how high quality the calibre of comedic writing in the script is, and the switch between humour and philosophy can feel rather forced at times. Whether this is due to the script or the performances, I’m unsure – but there’s a good chance it’ll improve as the run goes on. In terms of cast, it’s Samuel Anderson’s Luke and Adam Deacon’s Tony who take the leading roles. Both have impressive CV’s with Anderson having starred in The History Boys, Emmerdale and Doctor Who, and Deacon starring in Brit films such as Kidulthood and Adulthood, as well as directing spoof film Anuvahood. Playing brothers in The Retreat they have an easy chemistry together – instantly believable as siblings who’ve been separated by years of differences and disagreements, and their interactions together are both hilarious and moving. Anderson does his best to make the often-patronising Luke a sympathetic character, and Deacon is a real stand out as Tony – his constant jokes a thin cover for the vulnerable and damaged soul at the heart of the man.

    Yasmine Akram’s Tara is a more supporting role to the two brothers, so lacks in terms of character a little compared to the two leads, but Akram delivers a strong performance with Tara a warm, funny, yet ultimately rather complicated character. Akram’s unforgettable entrance as Tara, covered head to toe in green body paint, is unforgettable– and whilst the real story at the heart of The Retreat is the relationship between the two brothers, Akram is an integral and beautifully delivered part of the evening’s entertainment.

    Fans of Peep Show may not be expecting quite as much warmth and emotion as is on display in The Retreat, but it’s there constantly throughout – with the humour making way for moments of genuine feeling repeatedly throughout the show. That may be, in part, due to the direction by Kathy Burke – an actor and director who, in my opinion, can bring warmth and humanity to any role she comes across.

    There’s no distancing here – the staging, light and sound welcome the audience into this small hut in the Scottish Highlands, with the relatively small size of the theatre allowing the characters to be exposed to the audience – removing some of the distancing that is provided in a regular theatre and making the experience all the more immediate.

    The Retreat is a clever and thoughtful contemporary play that explores modern day issues with warmth and fantastic humour. Strong performances enabled by superb direction allow this intelligent and entertaining script to shine. Go for the laughs and stay for the compelling commentary on life in the 21st Century – it’s not perfect but it’s an enjoyable watch and an impressive debut play by writer Sam Bain

    The Retreat runs at Park Theatre until 2nd December 2017

     

     

     

     

  • THEATRE REVIEW | The Exorcist, Phoenix Theatre, London

    ★★★★ | The Exorcist

    THEATRE REVIEW | The Exorcist, Phoenix Theatre, London

    Breaking news: There is a young girl who is possessed by the devil in the West End.

    Her name is Regan, and she is 12 years old. She once used to be a playful little girl, happy, singing, always with a smile on her face. Then one day she started mentioning to her mom that she had an imaginary friend in her room. This friend, which went by the name Captain Howdy, would talk to her, and tell her to do things. But eventually Captain Howdy started to take over her life, and her body, while mysterious and strange goings-on take place in the house (windows opening, doors not closing, strange writing on the wall). But the worst was yet to come. Regan started to harm herself, and harm others, and the sight of blood didn’t phase her. But she was becoming extremely dangerous, not just to herself, but to the people in her household, which includes her actress mother’s best friend and film director, Burke Dennings. At some point, Regan needs to be tied to her bed, and it’s then, and only then, that we realize that Regan is possessed by the devil. She spews vomit, turns her head at a 360-degree angle, and levitates over her bed – actions that only can be performed by something that is very very evil – not of this world. Regan’s mother by this time has lost her wits – she doesn’t understand and can’t cope with all this, so she brings in Father Damien Karras whose job it is to determine if Regan is actually possessed, and soon enough he realises this is the case. So it’s time for the Exorcism and it will take the work, and expertise, of one Father Merrin to free Regan of the evil inside of her, an evil that could kill Regan if it’s not exorcised out of her in time.

    Based on the hit, and terrifying movie of the same name, and now cleverly adapted for the stage by John Pielmeier, The Exorcist is scaring audiences at The Phoenix Theatre, and scaring is putting it mildly. What the director, Sean Mathias, and cast have done is to have successfully brought the story to a live audience and all of its bone-chilling and terrifying moments. With the excellent performance by Clare Louise Connolly who lives and breathes Regan and the voice of the devil by Ian McKellan in tandem they practically make is a believable experience. Peter Bowles chews up his scenes as Father Merrin and Adam Garcia is a very good as Karras while Tristram Wymark as Dennings has the much needed funny lines in the show to relieve the chills. The Exorcist is downright scary, not suitable for children, but nice and scary for the adults. Perfect for this time of year.

     

    The Exorcist plays at the Phoenix Theatre until 10th March 2018

  • THEATRE REVIEW | Legally Blonde – Sheffield Theatres and National Tour

    ★★★ | Legally Blonde – Sheffield Theatres and National Tour

    With a penchant for pink, an encyclopaedic knowledge of fashion and an excitable outlook on life, sorority sister Elle thinks she is about to get engaged to her sweetheart and live out a life of pink, fashion-filled happiness. But instead of proposing, he dumps her for not being serious enough, and she decides that the best way to win him back is to follow him to Harvard and graduate in law. Despite not being the average Harvard student, she soon surpasses everyone’s expectations and earns a place on her law professor’s internship, where she helps to represent a famous fitness guru who is charged with murder. But can Elle prove her worth in the courtroom, or will she forever be perceived as being Legally Blonde.

    Based on the hit 2001 film, this show has all of the usual musical elements present and correct. From cheerleading sorority sisters to the sleazy law professor; this feel-good musical has a will they/won’t they love story, an underlying moral message about being true to yourself and plenty of fun to be had along the way.

    Lucie Jones (X-Factor) is surprisingly impressive as Elle Woods, performing the lead role with a fine voice and a natural and affable stage presence. Rita Simons (Eastenders) provides strong support as Pauline, Elle’s hairdressing friend, and plays the part with just enough of a tongue-in-cheek feeling to pull off the role; and the ensemble cast give it their all whilst constantly looking like they’re having fun

    Unlike many musicals, Legally Blonde has a stronger second act and doesn’t sag in the middle, meaning that whilst the show doesn’t endear itself to you from the outset, the writing, pace and momentum keep building until you do eventually fall for its charms. At times, the show is not too far away from a sing-through musical; with a barrage of songs which are catchy, if ultimately forgettable, and that progress the narrative nicely. The musical numbers are varied, fun, colourful and broadly energetic with musical highlights including a courtroom witness dilemma and trying to decide Is He Gay or European, an eighties style workout number in Whipped Into Shape and a cheerleader ensemble in What You Want.

    Legally Blonde is a fairly shallow piece of fluff, which has an abundance of bubble-gum pink and giggly sorority sisters, but also has with it an infectious feel; a vibrant energy, good-natured humour, plenty of colour and, most importantly, lots of fun. The production is bold, brash, camp and loud, and whilst this is not life changing theatre (and it never pretends to be), it serves its role as a rather enjoyable couple of hours of escapism.

    Legally Blonde is currently playing at Sheffield Theatres until the 4th November 2017 before continuing on its national tour through to June 2018.