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 | Holding the Man, Above the Stag Theatre London

    ★★★★★ | Holding the Man

    THEATRE REVIEW | Holding the Man, Above the Stag Theatre London

    Holding the Man is a show that will rip your heart out and reduce you to tears.

    Now playing at Above the Stag Theatre in Vauxhall, it’s true story of two Australian men, Timothy Conigrave and John Caleo, who fall in love in the late 1970’s, who have their ups and downs during the 1980’s, and who both are diagnosed with the HIV virus and must deal with not only death knocking on their door but also the shortened time they have to be together. The show is based on the 1995 book by Conigrave and was written by Tommy Murphy. Most of you might have already seen the excellent 2015 film, or previous London productions (including the 2010 production at Trafalgar Studios). The Above the Stage production is just as hard-hitting.

    It’s the storytelling and the extremely strong performances of the cast at the Above the Stag that rate this production five stars. Jamie Barnard is excellent as Conigrave while Ben Boskovic as Caleo eerily captures his quietness and reserve. Both actors bring to this production a strength and resolute to their roles that they are almost living out these characters lives right in front of us. From the beginning of the show, we can feel that these two men were meant to be together. But this being the early 80s, not much was known about HIV, so, unfortunately, and I’m not giving anything away here because it’s a well-known story, AIDS was to rear its ugly head directly at these two young, beautiful men.

    Holding the Man takes us on a heart-stopping and heartbreaking journey while we travel with them in their relationship with each other in life and in death. And it’s Barnard and Boskovic who take us on this remarkable journey. Joshua Cole as a best friend of the two men provide welcome comic relief in a show that’s very serious: he’s charming and has the best lines in the play. Faye Wilson adds some much-needed sparkle as another one of the boy’s friends, while Liam Burke, Annabel Pemberton, and Robert Thompson round out the ensemble in various roles as parents, friends and fellow students. One scene that includes the whole cast is a hilarious masturbation scene that’s cleverly done and something I’ve never seen on stage before.

    But’s is the relationship between these two men that is at the heart and soul of this show. Director Gene David Kirk keeps the drama up and running while designer David Shields provides an excellent minimalist backdrop so the audience can focus on the story, and acting unfolding right before our very eyes.

    Kudos to Above the Stag Theatre for producing a serious, dramatic and extremely well-acted show that’s a welcome relief from their previous camp and silly previous productions. Categorise Holding the Man as a must see!

    Holding The Man runs at the Above The Stag theatre until 21st October 2017

     

  • THEATRE REVIEW | Five Guys Name Moe, Marble Arch Theatre London

    ★★★★ | Five Guys Named Moe

    THEATRE REVIEW | Five Guys Name Moe, Marble Arch Theatre London

    There’s a new theatre in town, it’s fabulous, and the show now playing at this theatre is fabulous as well.

    The Marble Arch Theatre, which is an Underbelly production (the team that brings us the excellent shows in the Southbank), is cleverly located right next to the arch in Marble Arch, is the newest theatre to pop up in London. It’s a gorgeous 650 seater wooden structure that includes a very large bar and an auditorium with a stage that is semi-circle in the round, a design that reflects the 1940’s New Orleans Jazz bars. And theatregoers will be able to take their seats at the cabaret tables in the Funky Butt Club and have drinks served directly to their tables for an up-close and personal musical experience all around them. And the show at this new theatre is Five Guys Named Moe, which is a show about Five Guys Named Moe (Big, Little, Eat, Know and Four-Eyed) who give guidance, advice and support to Nomax, who is single, broke and lamenting about a broken relationship with a woman named Lorraine.

    The Moes sing and dance their way throughout this two-hour very lively extravaganza, while Nomax (played by Edward Baruwa) takes it all in. Songs, featuring the hits of original jazz king Louis Jordan, include “Early in the Morning,” “I Like ‘em Like That,” “Safe, Sane and Single,” and “Ain’t Nobody Here But Us Chickens” are sung by the Moes in such a fun and unique style. And there is also quite a bit of audience participation. One member of the audience who was chosen to recite some sentences on the night I saw it, and it was none other than stage and movie star Freddie Fox. The audience also gets to outdo each other, with the help of the Moes, in a sing-a-long that provides raucous laughter. It’s the oldest trick in the book to include the audience in the show to make sure they are having a great time, and the Moes use it to their advantage.

    Five Guys Named Moe is based on a musical of the same name by Jordan in 1943, and has been around since it’s 1990 UK debut (and a 2010 UK revival). With a book by Clarke Peters, it feels like this show has never left London. But if you’ve already seen it, seeing it again at the new Marble Arch Theatre will be a whole new experience, and perhaps more of an enjoyable one in a setting that matches the fun and frivolity of the show. Kudos to all the Moes who make it a fun night out (Ian Carlyle, Idriss Kargbo, Dex Lee, Horace Oliver and Emile Ruddock) and to Underbelly for copying their successful formula to Marble Arch, and to the production team for pulling it off and producing one big party.

    Five Guys Named Moe plays at the Marble Arch Theatre until 17 February 2018

  • THEATRE REVIEW | Dirty Dancing, Liverpool Empire

    ★★★ | Dirty Dancing, Liverpool Empire

    Set in the 1960’s, Frances “Baby” Houseman goes to Kellerman’s holiday camp with her family. She befriends the staff of the camp and develops a crush on charismatic dance teacher, Johnny Castle. When Johnny’s dance partner cannot perform at a show at a local hotel, Baby steps in to ensure that they do not lose their jobs. But as Johnny and Baby rehearse, they fall in love and learn more from each other than just the dance moves.

    Based on the hugely popular film of the same name, Dirty Dancing hits the stage with a show which follows the story of the film very closely, with the bulk of the script being comfortingly recognisable from the film. There are some additional scenes thrown in, which mainly expand on the political changes in the 60’s and some which flesh out the relationship between Baby and Johnny; whilst the show’s music came from a combination of both live and pre-recorded tracks, including “Hungry Eyes”, “Love Man” and “(I’ve Had) The Time of My Life”

    Katie Eccles and Robert Colvin took the lead roles of Baby and Johnny, and had some chemistry between them; and they were supported by a broadly competent cast of singers, dancers and musicians. Unsurprisingly, the dancing was better than the acting, but given that the show’s main focus is the musical numbers it doesn’t cause too much of a problem.

    The show has been given a major overhaul and is all the better for it. This production has a vibrant lighting design and has ushered in a luxurious, well designed and thoroughly detailed set which transform smoothly without ever interrupting the story; whilst the show has been sexed up a little with a few more bare chests and muscular arms on display. Overall, the production values here are very high and very impressive.

    But where the show really succeeds is in its ability to bring the movie to life and recreating it on stage. All of the familiar lines, plot points, dance routines and songs are there and there is something very comforting about watching such a faithful recreation of the movie. For those who have not seen the film, the show is a good introduction to the world of Kellerman’s. For established fans of the film, the show will be hard to beat.

    Dirty Dancing is playing at the Liverpool Empire until 18th September 2017

    • Review taken from the Sheffield Theatre production

  • THEATRE REVIEW | Footloose, Peacock Theatre London

    ★★★★ | Footloose

    THEATRE REVIEW | Footloose, Peacock Theatre London

    Kevin Bacon became a worldwide star in the 1984 hit film. And while there have been lots of stage versions produced after this, “Footloose,” no matter how many times you’ve seen it or have hummed the title song, will always bring a smile to your face.

    Another revival, now at the Peacock Theatre near Aldwych, and arriving into London right after a UK tour, keeps the toe-tapping alive with the show about a small town that has banned dancing, and the young out-of-towner who plans to shake things up.

    Rem McCormack (Joshua Dowen) and his mom Ethel (Lindsay Goodhand) move from their hometown of Chicago to the very small town of Bomont after Rem’s father left the family home to go ‘find himself.’ Rem integrates into his new school, filled with all sorts of people (though none of them, curiously, are black). His fellow students include Willard (Gareth Gates, who gets star billing) and the minister’s daughter Ariel (Hannah Price). It comes to light that the powerful minister, the Reverend Shaw (Reuven Gershon), has banned dancing in town because five years ago his young son and three others were killed in a car crash, no doubt, according to the minister, caused by the kid’s night out of having too much fun and possibly drinking.

    But Rem wants to have fun, but at the same time can’t seem to hold down a job due to his motto of trying to do the right thing, and he’s gotten off on the wrong foot with Ariel’s boyfriend Chuck (Connor Going – who strangely disappears during the middle of the show but returns for the finale). The other kids end up getting Rem to speak up for them at the city council meeting to denounce the dancing ban while it’s no surprise that Rem and Ariel have the hots for each other. It’s lots of loose feet, catchy tunes, a hot and sexy cast and way too many crotch jokes that make this version of Footloose a slight winner.

    Gareth Gates looking super hot in the London Production

    The music and the talented cast make the show very entertaining, but the show as a whole could be better. While all the film’s hits are included (“Footloose” of course, “Let’s Hear it for the Boy,” as well as “Holding Out for a Hero”), with some of the arrangements of these songs a bit different than what we’re used to, some of the other songs make a very big thud, including the dismal “Heaven Help Me” sung by Gershon. However, “Somebody’s Eyes” is beautifully sung by most of the cast in a very memorable scene. So while there are more ups than downs, the cast at the end of show work very very hard to get their standing ovation, practically repeating, in very shortened versions, almost every catchy and lively song from the show. And even though Gates gets top billing (and he even takes his top off to reveal an absolutely stunning body), both Dowen and Price are the true stars of the show. Their chemistry on stage is very real – both very good looking with all-American looks. Director Racky Plews and Choreographer Matthew Cole have, almost, done Kevin Bacon proud.

     

    Footloose plays at the Peacock Theatre London

  • THEATRE REVIEW | Outlaws to In-Laws, King’s Head Theatre, London

    ★★★★ | Outlaws to In-Laws

    THEATRE REVIEW | Outlaws to In-Laws, King's Head Theatre, London

    London is very fortunate to have a theatre like the King’s Head because of its repertoire of gay-themed shows. And now it’s in the middle of presenting its LGBT Festival with the showcase of a new play called Outlaws to In-Laws.

    Outlaws to In-Laws attempts, successfully, to depict the experiences of gay men over the last seven decades. And while it’s a subject that would be daunting for any theatre, or playwright, involved, the seven playwrights who wrote the seven shows that cover seven decades of gay life do their darnedest to both entertain and educate the audience. Here are some of the highlights:

    Happy and Glorious – by Philip Meeks – is set in the 1950s on the day of Queen Elizabeth’s coronation where two men fall into a tryst and both their lives change forever.

    Mister Tuesday – by Jonathan Harvey (Beautiful Thing) – Peter and Jimmy have sex, on Tuesdays, but we soon realize that Jimmy is married with children while Peter threatens to blackmail him just so that he can keep the trysts, and possibly more, ongoing.

    Reward – by Jonathan Harvey – a riveting story where a rough and tough skinhead and a young black man meet at a bus stop and fall into a relationship, but it’s illicit one where both of them could be in real danger. Both actors, Jack Bence and Michael Duke, are excellent.

    1984 – by Patrick Wilde – where two men have an encounter, and one of them, a politico for Thatcher, realizes that all that he stands for is soon to change.

    Brothas – by Topher Campbell – where two black men, Dwayne and Remi, have fun cruising on a black dating site, slighting the unattractive ones while favouring the more ‘looking and acting straight’ ones. But it’s Dwayne who’s in it for more than just the sex.

    While most of the stories are very good, what is best about this production are the performances. All seven actors give it their best, but it’s a few of them who really stand out. Bence, as previously mentioned, is highly memorable as the skinhead in Reward and as Peter in Mister Tuesday – both roles require high stakes drama and passion, and Bence delivers, while both Myles Devonté and Duke look very comfortable in their roles in Brothas – they are both naturals in front of the audience.

    Outlaws to In-laws is two hours of theatre that, while a bit cobbled together, is still a very good journey that takes us from decade to decade of gay life linked together very cleverly and showcasing the talent of the playwrights and especially the actors.

    Outlaws to In-Laws is now playing at The King’s Head Theatre until September 23.

    For details of The King’s Head’s other gay production, “Gypsy Queen,” please go here:

    https://kingsheadtheatre.ticketsolve.com/shows/873576764

  • THEATRE REVIEW | Doubt, a Parable, Southwark Playhouse, London

    ★★★★★ | Doubt, a Parable, Southwark Playhouse, London

    CREDIT: Paul Nicholas Dyke

    It’s Autumn 1964 and young priest Father Brendan Flynn doesn’t fit into the spartan and puritanical ideals of the school as run by sour faced Sister Aloysius. He’s all warmth and casual attitude, bouncing a basketball around with the boys. Her view of the school system is one where art is a frippery, the children should be contained and disciplined and pastoral care involves telling people to buck their ideas up. Her ever watchful gaze is centred on Flynn and when a young nun divulges her suspicions of inappropriate behaviour between Father Flynn and a pre-pubescent boy she appears to relish the chance to get rid of him and launches into decisive and cunning action.

    If you want big acting shoes to fill then look no further than ‘Doubt’. This 2005 Pulitzer Prize and Tony Award winning play was made into an astoundingly good film with Philip Seymour Hoffman and Meryl Streep as the warring priest and nun. This version has pulled together an accomplished cast with Stella Gonet as the terrifying yet eminently human Sister Aloysius. It;’s a dense, dialogue heavy play that’s an intense ninety minutes but one that passes in a flash and will set you cogitating as you consider the facets of the situation and the personalities concerned. Oh, as well as thinking about that little matter of the truth. Much like life, there aren’t any wholly good or bad or stupid or clever people only people on a spectrum constantly sliding somewhere between the two.

    The confined space of a fringe theatre like Southwark Playhouse suits this piece as you get to see every thought flit across each face and the intensity ramps up a notch or two. This is a rarity: an entertaining and rousing play that’s also intelligent and thought provoking. Go see it.

    Doubt, a Parable, plays at the Southwark Playhouse, London until 30th September 2017

  • THEATRE REVIEW | Dirty Dancing, New Victoria Theatre, Woking

    ★★★ | Dirty Dancing, New Victoria Theatre, Woking

    Set in the 1960’s, Frances “Baby” Houseman goes to Kellerman’s holiday camp with her family. She befriends the staff of the camp and develops a crush on charismatic dance teacher, Johnny Castle. When Johnny’s dance partner cannot perform at a show at a local hotel, Baby steps in to ensure that they do not lose their jobs. But as Johnny and Baby rehearse, they fall in love and learn more from each other than just the dance moves.

    Based on the hugely popular film of the same name, Dirty Dancing hits the stage with a show which follows the story of the film very closely, with the bulk of the script being comfortingly recognisable from the film. There are some additional scenes thrown in, which mainly expand on the political changes in the 60’s and some which flesh out the relationship between Baby and Johnny; whilst the show’s music came from a combination of both live and pre-recorded tracks, including “Hungry Eyes”, “Love Man” and “(I’ve Had) The Time of My Life”

    Katie Eccles and Robert Colvin took the lead roles of Baby and Johnny, and had some chemistry between them; and they were supported by a broadly competent cast of singers, dancers and musicians. Unsurprisingly, the dancing was better than the acting, but given that the show’s main focus is the musical numbers it doesn’t cause too much of a problem.

    The show has been given a major overhaul and is all the better for it. This production has a vibrant lighting design and has ushered in a luxurious, well designed and thoroughly detailed set which transform smoothly without ever interrupting the story; whilst the show has been sexed up a little with a few more bare chests and muscular arms on display. Overall, the production values here are very high and very impressive.

    But where the show really succeeds is in its ability to bring the movie to life and recreating it on stage. All of the familiar lines, plot points, dance routines and songs are there and there is something very comforting about watching such a faithful recreation of the movie. For those who have not seen the film, the show is a good introduction to the world of Kellerman’s. For established fans of the film, the show will be hard to beat.

    Dirty Dancing is playing at the New Victoria Theatre, Woking until 9th July 2017

    • Review taken from the Sheffield Theatre production

  • THEATRE REVIEW | The Curious Incident Of The Dog In The Night-Time, Milton Keynes Theatre

    ★★★| The Curious Incident Of The Dog In The Night-Time, UK Tour

    REVIEW | The Curious Incident Of The Dog In The Night-Time, Milton Keynes Theatre width=

    Christopher Boone, a 15-year-old boy, discovers that his neighbour’s dog, Wellington, has been killed by someone (the poor dog having been stabbed with a garden fork), and sets off to find out who the culprit is. But Christopher has Asperger’s syndrome, which makes his perception and functioning very different to other boys his age and as the truth behind Wellington’s death starts to be revealed, it leads Christopher to embark on a remarkable adventure.

    The show is based on the hugely successful book by Mark Haddon and has been a West End and Broadway hit. Utilising a virtually empty stage, the presentation of the show was intriguing, using screens on the back and sides of the stage, almost framing the show in a cube, reflective of Christopher’s constraints in his functioning. Lights flicker like the firing of neurons in his brain, and black and white projections are used to show both his thought process and to set the scene. The show, like the book, is written from Christopher’s point of view and the presentation effectively places the audience members squarely into the centre of his mind and thoughts. The simplicity of the set is reflective of the way in which Christopher perceives the world and worked very well. There were pieces of carefully choreographed movement throughout, and the scene where Christopher arrives in London and is overwhelmed by the overstimulation of his environment is very well done. In this show, less certainly is more, and the monochrome set nicely mirrored Christopher’s rather binary thinking.

    But placing the style and presentation to one side, the most impressive aspect of the show was the central performance of Scott Reid. Reid’s portrayal of Christopher Boone was highly accomplished – mixing the complexities of the characters personality, his physical traits and a childlike innocence which combined to provide a rounded and believable performance

    The show, and in particular, the first act, is very well written, with a script which imports large chunks of text from the book to provide a faithful adaptation of the source material. Despite being bleak at times, the show was filled with gentle humour; and created a world with a myriad of characters that come in and out of Christopher’s life which nestle alongside the well-crafted moments of dramatic tension and emotionally powerful scenes.

    The show has won a slew of awards, including 7 Olivier Awards and 5 Tony Awards, and it is easy to see why. There is a lot of depth to the play, exploring the adult world of interpersonal relationships through a simplistic and innocent perspective.

    The Curious Incident of the Dog in the Night-time is playing at the Milton Keynes Theatre until 16th September 2017

    • Review taken from Sheffield Theatre production.

  • THEATRE REVIEW | Late Company, Trafalgar Studios, London

    ★★★★★| Late Company

    THEATRE REVIEW | Late Company, Trafalgar Studios, London

    The title of a new play at Trafalgar Studios – Late Company – means that the family the Hastings invited over for dinner are late, and they are also late in apologising for the suicide of their teenage son.

    Debora (an amazing Lucy Robinson) and Michael Hasting (Todd Boyce) have invited Bill Dermot (Alex Lowe) and his wife Tamara (Lisa Stevenson) and their son Curtis (David Leopold) over for dinner to their fancy and art-inspired home. Curtis and Debora & Michael’s son Joel were friends in school, however, Michael committed suicide after being constantly bullied and taunted by the other kids in school (including Curtis) for being gay and a bit feminine. So Debora (and less so Michael) have invited the Dermots over for dinner on the one year anniversary of Michael’s death. It’s a dinner where Debora wants to have the ‘conversation’ – to get everything out in the open and to have an open and honest discussion with Curtis to determine the reasons and motive for doing what he did to Michael, and most importantly to find out why. But the dinner doesn’t go according to plan, it’s brought up bad emotions and feelings that Debora and Michael were trying to get over. But it turns out that Debora was never really there for Joel, and that Michael’s job as an MP took him to Ottawa a lot of the time, and Debora was always focusing on her art and not really on Joel, so Bill and Tamara subtly advise Debora and Michael that they missed the warning signs because they were too involved in themselves. But no matter who the finger is pointed to, Joel is gone forever, and no yelling or conversation will bring him back. And it’s mostly Debora who longs for closure, and perhaps she’s feeling a bit guilty over Joel’s suicide.

    Late Company throws heavy emotional dialogue at the audience right and left, and it’s delivered by an excellent cast. Robinson as Joel’s mom has the showiest part. She’s angry and upset and wants closure. Stevenson is also very good as the mother whose son is still alive, she just can’t put herself in Debora’s shoes but she is willing to do as much as she can to help ease the pain. And Leopold is a wonder as the son who doesn’t have much to say during the dinner but near the end, he comes into his own. Gay playwright Jordan Tannahill was only 23 when he wrote Late Company in the wake of a peer’s suicide, and he has written a timely and evocative play that’s very relevant today in a world of constant bullying and peer pressure and what seems like the lack of rules on social media. Late Company is a short 75 minutes but it packs a wallop during this time and at the end, you will find that your heart has dropped into your stomach. A must see!

    Late Company is playing at Trafalgar Studios until Saturday, September 16th.

  • THEATRE REVIEW | Loot, Park Theatre, London

    ★★★★ | Loot

    THEATRE REVIEW | Loot, Park Theatre, London

    The late playwright Joe Orton wrote Loot more than 50 years ago, and it is now being revived at London’s Park Theatre in Finsbury Park.

    Loot is a farcical comedy that’s hilarious but it’s upstaged a bit by the life of Orton. He was only 34 when, at the peak of his fame, he was murdered by his boyfriend Kenneth Halliwell in their flat in Islington exactly 50 years ago because Halliwell was very jealous of Orton’s success. Orton had just had real success in the West End with both Loot and Entertaining Mr Sloane, and was even celebrating being notorious for when he and Halliwell served six months in jail for defacing books from the Islington public library.

    But back to Loot,  it’s a laugh a minute play about a funeral with a corpse which unfortunately does not get any peace in the afterlife. There’s also a bank robbery as well as a cunning nurse who will do anything to get her hands on as much money as she can.

    Mrs McLeavy (Anah Ruddin) has just died and her husband McLeavy (Ian Redford) and son Hal (Sam Frenchum) are in mourning at a funeral home. Nurse Fay (Sinéam Matthews) was hired to take care of Mrs McLeavy, but she’s got more up her sleeve than cotton pads and plasters. But Hal has just robbed a bank, in cahoots (and then some) with undertaker Dennis (Calvin Demba), and the money is in the same room as Mrs McLeavy. But self-proclaimed water inspector Truscott (Christopher Fulford) seems to be getting very interested in everyone’s business, starts to ask lots and lots of questions, while Hal and Dennis run amok trying to figure out where to stash the stolen money – and this is the beauty of Loot. Poor Mrs McLeavy’s corpse keeps on getting switched with the money and eventually her body is a prop where McLeavy and Truscott bewilderingly take no notice. And eventually Fay wants a piece of the action or else she will tell the cops. The corpse winds up in literally many hilarious places and positions which will keep you laughing for the duration of the show’s 90 plus minutes.

    Kudos go to Ruddin for playing the corpse. She, along with the hilarious script, are the real stars of the show. Matthews as nurse Fay and Redford as McLeavy are also brilliant but it’s a testament to Orton who had bucketfuls of talent taken away from him at such a young age, one can only imagine what else he would’ve accomplished. And we’re lucky we are no longer at the behest of Lord Chamberlain who heavily censored this show when it was originally shown, and when some of the audiences walked out because of the way the corpse is treated in the show. And we finally get to see Loot the way Orton originally intended it to be watched, in full.

    Loot play at the Park Theatre in Finsbury Park until 24th September

  • THEATRE REVIEW | Between The Sheets, Underbelly, London

    ★★★★ | Between The Sheets

    Between The Sheets, Underbelly, London

    London’s most famous burlesque entertainer – Miss Polly Rae – is hosting a new show at London’s Underbelly Festival on the Southbank. It’s Between the Sheets, and between you and me it’s fabulous!

    Polly Rae, along with a cavalcade of other naughty acts, perform a variety of skits while scantily clad in a show that’s fun, and dare we say it, titillating. There’s so much on offer in the show for both men and women as Rae’s performers delight the late night audiences with the ability to do a variety of stunts while simultaneously taking their clothes off.

    Come and watch the amazing duo of Duo Visage (Beau Sargent and Sam Smith) combine their spectacular artistry, along with their perfectly lithe bodies, as they do spectacular stunts on the stage in a venue where every seat in the house is good. Then there is Tom Cunningham and Myles Brown, two very good-looking men who take off all of their clothes in one very cute skit while in another scene they most memorably perform a romantic and sensual dance with each other that’s both erotic and emotional and very memorable. We are then treated to the very funny Lilly Snatchdragon who provides comic relief in between the flesh-baring performers. But it’s Kitty Kitty Bang Bang who impresses us the most with her fire eating skills along with her splashing around in a very large cocktail glass semi-filled with water. Did I also mention that she’s scantily clad while doing this? And the gorgeous Beau Rocks rounds out the cast of Between the Sheets, and rounds out just simply describes her and her amazing body and personality.

    Playing for a limited time only, Between the Sheets will literally thrill you out of your seat with a spectacular show which takes place in one of London’s best venues. Kudos to Miss Polly Rae for bringing this sort of burlesque show back to London in a visually stunning and hilarious romp. It’s a night out that you will truly not forget.

    There are three more shows left of Between the Sheets – all on Fridays: August 25th, September 8th, and September 29th.