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 | Muzik, London

★★★★★ | Muzik, Leicester Square Theatre, London

It takes someone with a lot of talent, energy, charisma and pizzaz to keep you mesmerised, enthralled, entertained and laughing non-stop in a one hour show. Frances Barber does just this playing Billie Trix in the show ‘Muzik.’

Barber is, in a word, brilliant in her one woman show where she recounts the life, and acting as, Billie Trix, who was an icon, rock star, screen goddess, and drug addict.

In a show written by Jonathan Harvey and with songs by the Pet Shop Boys, Barber (Trix) tells of her life when she belonged to the Warhol crew (there is a funny joke about a gun and Valerie Solanas – the woman who shot Warhol), to her time in Paris, and how her and her mother never saw eye to eye. The jokes are fast and furious and hilarious. Barber keeps the momentum going singing the hilarious songs about anything and nothing. No stone is left unturned when she, truth or not, recounts the time when she was Donald Trumps lover and how she could’ve been the princess to Prince Harry.

This one hour show is jam packed with her stories; Madonna is in disguise in the audience, and her agent, also in the audience, is happily eating away. If you get a chance go see this show. I knew nothing about Trix, and Barber until now – Barber made me laugh until I cried.

MUSIK
Written by Jonathan Harvey
& Pet Shop Boys

Leicester Square Theatre
6 Leicester Place
London WC2H 7BX

Wednesday 5 February – Sunday 1 March

Tues-Thurs £22.50, £34.50 & Premiums £42.50
Fri-Sat £22.50, £42.50 & Premiums £49.50
Sun £22.50, £37.50 & Premiums £45.00
These prices are inclusive of all booking fees and theatre levy

Ticket Booking Line
0207 7342222

www.leicestersquaretheatre.com

14th February 2020
THEATRE REVIEW | Everybody’s Talking About Jamie

Rating: 5 out of 5.

Jamie is advised, by his career’s teacher that the best option for him, is to pursue a career as a forklift driver. Foolishly, despite the possibility of being surrounded by a plethora of fit warehousemen, Jamie opts for the more humdrum life of a drag artist!

He then decides, with some prompting from his best girl-friend Pritti, to attend the end of school prom in a dress. A slinky white number more akin to Wimbledon than a prom but hey, it’s a drag themed musical, so bitching’s my prerogative.

While shopping for a prom dress, he’s persuaded by Hugo, the shop owner and a retired drag veteran, to perform at the Legs Eleven cabaret show, in Sheffield, yes I said Sheffield, not Berlin in the ’30s but Sheffield! Despite last-minute anxieties, his performance is a success and well met by all his classmates. Thus giving momentum to his dreams of a Martina Navratilova prom night.

However, throughout all this, he had an erroneous belief that his dad had been holding a torch for him. A belief urinated upon from on high, when on a surprise visit to his dad, it becomes apparent that Jamie’s mum had been sending birthday and Xmas gifts addressed as his dads. With devastating effect, his dad tells Jamie, he never supported him or sent any gifts, quite the reverse, that Jamie had always been an embarrassment which is why he abandoned his mum to start a new family.

-Exit stage left: A very distraught Jamie.
-Que: More heart-wrenching tunes.
-Exit handbags: Copious amounts of tissues.

Through the course of the show, one grows proud of the protagonist’s ability to grow a tough skin in the face of adversity, particularly from the main antagonists, his homophobic dad and fellow schoolboy Dean, who adds racism to the smouldering pot of jealousy and hatred. All controversial topics which were deftly and eloquently handled by Jamie and his fellow classmates.

The audience roared with approval when Jamie delivered a bitch slapping, Kung Fu kiss to his would-be assailant, Dean, during one such attack, which sent him packing with his tail between his legs.

The show culminates with a feel-good finish. Our princess does go to the ball and it all ends with a sprinkling of fairy dust and happy thoughts.

The talented kids in the show bring intense levels of energy and high octane dance routines whilst the senior members of the troop keep it grounded with solid acting performances, to a great storyline that bravely tackles all sorts of current and controversial issues in a positive manner. A clever use of set and stomping songs all contributed to the deserved awards this musical has won.

Noah Thomas who plays Jamie, is a master of the eight-inch high stiletto strut and snuggles naturally into character, whilst other mentions must go to Mellisa Jacques (mum Margaret) who gives a memorable and lung-bursting rendition of “He’s my boy” and audience favourite, Hiba Elchikhe who plays Jamies best friend and her performance of “It means beautiful”.

Already booked to see it again!

Most of the original cast have taken the show on tour, so do make the effort to catch it when it visits your town!

Five Stars from me!

Book tickets to see Everybody’s Talking About Jamie here

3rd February 2020
Theatre Review | Peter Pan Goes Wrong – National Tour

★★★ | Peter Pan Goes Wrong – Sheffield Theatres

The cast of Cornley Polytechnic Drama Society are back, with a disaster filled version of Peter Pan. Somewhere between the scenery collapsing, the technical hitches, backstage fallouts and some unrequited love between cast members, the troupe try to desperately to keep the show on the rails as chaos increasingly takes over, Peter Pan stops thinking happy thoughts and the crocodile becomes the star of the show.

Mischief Theatre returns following on from The Play That Goes Wrong and The Comedy About A Bank Robbery with two hours of laughter-inducing slapstick humour as the fictional cast try desperately to get through the performance. With slick precision and perfect comic timing, the cast plough through a barrage of jokes with a broad scattergun approach to the humour, as some jokes hit the mark, some miss completely and with another gag always rapidly following the last.

There were certainly plenty of smiles, chuckles and belly laughs to be had throughout the show’s duration, although the last ten minutes did descend more into silliness than comedy, but this didn’t detract from the feel-good factor the show produces. Cast member Oliver Stenton steals most of the scenes he touches; whilst Tom Babbage captures the hearts of the audience as the hapless Max.

If you have seen Mischief Theatre before, then you will know exactly what to expect and you won’t be disappointed as they continue with their trademark humour. If you’ve not, then Peter Pan Goes Wrong is a great introduction to them with an enjoyable, silly and easily entertaining show.

Peter Pan Goes Wrong is at Sheffield Theatres until 1^st February 2020 before continuing on its national tour.

29th January 2020
THEATRE REVIEW | The Sunset Limited, London

★★★ | The Sunset Limited, Boulevard Theatre, London

A middle-aged white male attempts to get on The Sunset Limited but is stopped by a middle-aged black man.

What is The Sunset Limited? It’s the name of a new play that has just opened at Soho’s fantastic Boulevard Theatre, and it’s also a euphemism for committing suicide.

The white man (English Actor Jasper Britton), is on his daily commute (as described by the actors) when, instead of wanting to go to work, he intentionally wants to jump in front of a subway train pulling into a strangely empty NYC subway station. But he is saved by the black man (an excellent Gary Beadle) who in turn takes him to his run-down apartment to discuss his motive for wanting to commit suicide.”

So the play (written by Cormac McCarthy in 2006) takes place in the black man’s apartment (the two leads are not assigned proper names). So for the next 95 minutes we get to learn a lot about both men. The white man is a professor, an atheist, really hates his father and mother, and has very bad thoughts about all of his fellow commuters – everyday he has had these bad thoughts – and has had them for the past 20 years. The black man is an ex-con who served time for a crime we are not told, he is very religious, and is now the guardian angel to the white man, trying, very determined, to understand why he wanted to end his life. The play also tries to explore the meaning of life and especially the lives of people who have to endure a commute back and forth to work every day. But it also raises questions on the question – are we living the lives we want to lead? And when the show is over, and the black man finally lets the white man leave, what happens next, not just to him but also to the rest of us – back to our daily grind tomorrow, one that we might find depressing, depressing enough to take the Sunset Limited?

Perhaps the white man is everyman – one who is sick and tired of his commute, of the people around him, of his life and of his relationships – just plain miserable as hell.

Writer McCarthy wrote the brilliant ‘The Road’ (which went on to win a Pulitzer Prize, and which was turned into the classic 2009 film), which had themes of suicide and doom, was a brilliant piece of work. The Sunset Limited, apart from very good acting (Beadle is superb) and very good direction (Terry Johnson), is just a bit too thin to really care about the characters (white man is still a mystery to me) and what happens to them next.

The Sunset Limited is now playing at Soho’s Boulevard Theatre until February 29th.

https://boulevardtheatre.co.uk

25th January 2020
THEATRE REVIEW | St Petersberg Classic Ballet’s The Nutcracker – National Tour

Nutcracker Doll, Act 1

The Nutcracker needs little introduction, and tells the story of Clara who is whisked away to a magical land by the Nutcracker Prince to celebrate the defeat of the Rat King. This traditional ballet retains virtually all of its charm and Tchaikovsky’s instantly recognisable score remains a musical treat.

Saint Petersburg Classic Ballet return with their annual tour of classic pieces, presented very much in the archetypal style of traditional ballet, with tutu’s and tights aplenty, a static set of rather plain backdrops, a virtually non-existent use of props and a dance space which allowed the performance to flood the stage with a bevy of dancers.

Aside from the fixed grins, slightly loose synchronicity and a few heavy footfalls, the quality of performance in this tour seems to be much better than previous ones, with the cast putting in their all and some nimble and impressive dancing nestled amongst the rather safe choreography. It is not the most luxurious production you will see, but it remains functional and allows for the focus to be on the performances and music.

With an easily followed narrative and the second act consisting primarily of short set pieces, the ballet progresses at a pleasing pace, making it a great starting place for ballet novices and families with younger children.

Overall, the show is a pleasant and undemanding evening at the theatre, which remains firmly rooted in the traditional style. There is nothing innovative, ground-breaking or new in this production, but if you are seeking a very traditionally performed, accessible ballet in the classic style, then the St Petersburg Classic Ballet could well be just what you are looking for.

The Nutcracker is at the Sheffield Lyceum until 11^th January 2020 before continuing on its national tour

8th January 2020
Theatre Review | Guys And Dolls – Crucible Theatre, Sheffield

★★★★ | Guys And Dolls – Crucible Theatre, Sheffield

In an attempt to gather enough money to organise an illegal craps game, racketeer Nathan Detroit enters into a wager with gambler Sky Masterton that he can’t convince a girl to accompany him on a gambling trip to Havana. The catch? The girl in question is Sarah Brown, a religious and upstanding member of the Salvation Army, whose only interest in men like Masterton is in trying to convince them to leave behind their life of sin. So whilst Nathan Detroit does everything he can to avoid marrying his long suffering fiancé Miss Adelaide, Sky Masterton unexpectedly falls in love with the Sarah, as he tries to win the bet.

Robert Hastie’s revival is punchy, pacey and perky and zips along at a cracking pace. With an ingenious set design of sliding panels which slot together to form the backdrop of prohibition era New York, and zoot suits which are as sharp as the script, Sheffield Theatres production of this classic musical is utterly delightful.

Kadiff Kirwan oozes charisma as Sky Masterton and Martin Marquez brings a cheeky charm to the stage as Nathan Detroit. But whilst the ‘guys’ were great, the stage belonged very much to the ‘dolls’. Natalie Casey, as the lovelorn Miss Adelaide, beautifully balances comedy and sadness whilst giving a masterclass in musical theatre; and Alex Young brings warmth, humanity and female independence to the role of Sarah Brown.

There is some dazzling choreography which the cast (and the audience) delight in, and the big numbers, including ‘Luck be A Lady’ and ‘Sit Down You’re Rocking the Boat’, don’t disappoint at all. For a show written some 70 years ago, there is something about this production which feels really fresh and vivacious. Thoroughly enjoyable and tremendous fun, Guys And Dolls is the perfect antidote to the dark winter evenings and is everything you would want from a feel-good classic musical.

Guys and Dolls plays at Sheffield Theatres until 18^th January 2020.

17th December 2019
Theatre Review | Cinderella (and Panto’s in General) – Theatres Nationwide

★★★★★ | Cinderella, Sheffield Theatres

If there is one thing that is sure to herald Christmas out there in theatre land it is the arrival of the traditional panto, and whilst many may immediately turn to thoughts of screaming children and D-list celebrities, there is a surprising amount of fun to be had at your local theatre this festive season.

Whilst this review will be of Cinderella at Sheffield Theatres, it would probably extrapolate to theatres up and down the country. As South Pacific so ably put it, “There is Nothing Like A Dame”, and this year’s offering sees the return of panto dame, Damian Williams (Benidorm Live!) camping his way across the stage as Donaldina, one of the ugly sisters, ably partner by Matt Daines as Melina the other (somewhat) uglier one. This alone should start you thinking that the jokes here are not just for the kids, as a whole host of political figures come in for a ribbing – but none quite hit the topical shock value as much as one gag involving a prince sweating; and there’s the groaner jokes, the laugh out loud jokes and the saucy ones which fly straight over the kids heads nestled amongst the furore.

Joanne Clifton plays on her Strictly status as the fairy godmother. TV’s Mister Maker (looking surprisingly like Robbie Williams) keeps the kids happy, and even Paul O’Grady makes a surprise appearance as fairy. Need we say more? Still not convinced? How about throwing in a young Zac Efron looking Prince Charming and a handful of handsome backing dancers to add to the camptastic value of it all?

There is a host of musical numbers scattered around the production, this year including songs from other musicals such as The Greatest Showman and Everybody’s Talking about Jamie; whilst a smattering of pop songs (Ed Sheeran, Adele and Beyoncé) all add to the fun. We’d be lying if we said that there wasn’t any screaming kids at the show, but, hey, that is all part of it; and if you let yourself get carried away in the spirit of things, you’ll soon be shouting out, groaning, booing, singing and laughing out loud along with the best of them.

It’s loud, bold, crass and kitsch, and it is difficult to know who enjoyed themselves more – my 11 year old nephew, or me; but either way, we had an absolute blast, leaving the theatre with a massive grin, with sides aching from laughter and with the firm opinion that panto is not just for kids.

Cinderella is playing at Sheffield Theatres until 5^th January 2020; but check out your local theatre website and see who starring near you.

12th December 2019
THEATRE REVIEW | La Clique, London

★★★★ | La Clique, Leicester Square Spiegeltent, London

It’s getting cold outside but La Clique is back in town to steam things up!

Back in London after a ten-year absence and now performing in the Christmassy Leicester Square Spiegeltent – La Clique brings with it a potpourri of sexy performances compered by naughty woman Bernie Dieter (Little Death Club). In cosy environs we are treated to performances that are both fun and hot! The sexy Steven Williams shows us what he can do in a bathtub, while not so innocent David Pereira shaves his body on stage – au natural. Charlie Wheeler then twirls his sexy body on a large hoola hoop.

Then there’s Ursula Martinez who seems to find a red handkerchief in almost every part of her body. Plus we’re treated to the gorgeous singing of Kelly Wolfgramm who, along with the La Clique Palace Orchestra, bring the house down with her beautiful voice and their smashing music.

Don’t go once or twice, go to La Clique a few times as the performers are not the same at every performance. We missed the fire breathing Heather Holliday but we’ll definitely catch her at another performance.

La Clique is a must must must for you and your friends. It’s on until January 4th, 2020.

http://www.christmasinleicestersquare.com/whats-on/la-clique

21st November 2019
THEATRE REVIEW | Mowtown The Musical – National Tour

★★★ | Mowtown The Musical

After borrowing $800 from his family, Berry Gordy bought a small house in suburban Detroit, built a recording studio and laid the foundation for one of the most successful record labels of all time. Boasting Diana Ross, Lionel Richie, The Jackson 5, Smokey Robinson and Marvin Gaye, amongst others, Motown records grew to be a phenomenon. Featuring songs including ‘Aint No Mountain High Enough, I Heard It Through the Grapevine, My Girl, Dancing In The Street and Signed, Sealed, Delivered, Motown The Musical delves into the story of the label including its meteoric rise and its troubles as the hits dried up.

The show is punchy and well-paced, moving along at breakneck speed through the label’s back catalogue set against a backdrop of both the rags to riches story of Berry Gordy and the recent social and political history of America. At a time when race riots, the assassination of JFK and Vietnam were at the forefront of the American consciousness, Gordy simply wanted to unify people with his music. The show presents a rather sanitised version of the record label’s history, and touches on Gordy’s relationship with Diana Ross and on his management of some of the biggest names in music. But it is the music which is the major draw here, and it doesn’t disappoint.

Edward Baruwa steps into the shoes of Gordy remarkably well, and has a soulful voice and a natural charisma, holding the show together with his almost constant on stage presence. Olivia Hibbert does a fine impression of Diana Ross, and Daniel Haswell stands out amongst the large ensemble with his performance as Stevie Wonder. The production is incredibly slick, with vivid colours, stunning costumes and an incredibly effective use of projected backdrops which is superb as it transports the audience from scene to scene.

It is difficult to deny the legacy of what Gordy created; the songs remain absolute classics, the artists are legends and the music lives on. Cramming such a sprawling tale into a two and half hour show is a challenge, but by keeping it relatively light and focussing on the music, Motown The Musical is ultimately a feel-good celebration of some of the biggest songs ever recorded.

Motown The Musical is at Sheffield Theatres until 30^th November 2019 before continuing its national tour.

21st November 2019
THEATRE REVIEW | Death of a Salesman, London

★★★★ | Death of a Salesman, Piccadilly Theatre, London

Wendell Pierce and Sharon D. Clarke are amazing in the new production of Death of a Salesman.

Though it’s Pierce who shines a bit more. The show belongs to him in which he plays the character made famous by playwright Arthur Miller – Willie Loman. Transferring from the Young Vic where it played to packed houses, the show has not lost its impact, and in its new home – the Piccadilly Theatre – more people will now be able to see these actors at the top of their game.

Olivier-nominated Pierce is so so so good – it’s an amazing performance where he plays a man who is unravelling – he’s no longer relevant at work, he has a bad relationship with his two sons (Sope Dirisu and Natey Jones – both very good), and to top it off he has suicidal tendencies. About the only thing that keeps him grounded is the love he has for his wife (Clarke), and the love she has for him. But with two jobless adult sons who have not amounted to much, and a job where his young boss (who is the son of the boss that originally hired him), who doesn’t recognise the years and years Willie has dedicated to the job, and practically shuns and doesn’t honour his request to work closer to home (don’t pick up a dropped pencil is the message here), Loman is close to his wits end.

Death of a Salesman is a long show (3 hours and 10 minutes including interval). But it’s riveting. As we watch scenes with Pierce and his sons, and the disappointment he sorely does not want to admit to – Pierce just owns it. And his scenes with Clarke are so tender and vivid it almost feels very realistic. Directors Marianne Elliott and Miranda Cromwell, along with set designer Anna Fleischle, have very successfully re-jigged this show with a black cast to make it seem relevant and real more than 70 years after it was originally written.

A must see.

Death Of A Salesman plays at Piccadilly Theatre until 4th January 2020, book tickets here

12th November 2019
THEATRE REVIEW | Joseph and the Amazing Technicolour Dreamcoat – National Tour

★★★ | Joseph and the Amazing Technicolour Dreamcoat – National Tour

Andrew Lloyd-Webber’s well-loved family musical tells the biblical story of Joseph and his eleven brothers. Joseph is favoured by his father and is given a Technicolor coat, which causes his brothers to become so jealous of his favourable treatment that they take him into the desert to kill him. But seizing an unexpected opportunity to make some money, the brothers sell him into slavery instead and Joseph is taken to Egypt where his ability to interpret dreams is put to good use by the Pharaoh.

The two hour show is jam packed full of songs that you can’t help but know the words to, including “Any Dream Will Do”, “One More Angel In Heaven” and “Close Every Door”. Visually, the show was vibrant, colourful, full of an enthusiastic and energetic cast and some enjoyable choreography.

Jaymi Hensley (Union J, X-Factor) stars in his first major musical role and provides a mixed performance, sounding wonderful belting out the songs at some points in the show, but completely over-doing the forced and unnecessary vocal gymnastics and operatic trills at others.

Production wise, as expected, the costumes, set and a particularly effective lighting design were all awash with a variety of colours, and the whole thing came across as a fun and lively production which was professionally put together. Despite being first performed in the late sixties, the music still retains a fresh feel, with an eclectic mix of musical styles, from Country to Rock n Roll, and from Calypso to a parody of French Ballads.

Overall, Joseph is an evening of pleasant and undemanding entertainment which delivers on many levels, particularly in terms of production, but also in terms of nostalgia (most people of a certain age will remember doing this show as their school play). It’s great family entertainment and is ultimately enjoyable, if fairly cheesy, fun.

Joseph is currently at Sheffield Theatres until 9^th November 2019 before continuing on its national tour

6th November 2019