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 | Stepping Out

    THEATRE REVIEW | Stepping Out

    ★★ | Stepping Out, Vaudeville Theatre, London

     

    Stepping Out steps into the West End again but it’s on the wrong foot and it’s not a very exciting show.

    First staged in the West End in 1984 and running for three years and winning an Evening Standard Comedy Award, Stepping Out was then made into a 1991 movie starring Liza Minnelli. It now returns to the West End in a new production starring Amanda Holden and Tracey-Ann Oberman among others playing characters from various backgrounds who attend a weekly dance and tap class. They also meddle – no surprise – into each others personal lives. Holden is Vera, a wealthy woman who seems to have nothing better to do because her whole life revolves around her husband who apparently spends lots and lots of time with their teenage daughter. Then there is Oberman who plays the brash Maxine, and who gets all the best lines in the show. Anna-Jane Casey is Mavis, the dance teacher who is a bit frustrated, not only because her students can’t dance but also because she’s got issues in her personal life (Tamzin Outhwaite had to pull out of this role temporarily because of a broken foot). So Stepping Out centres around the seven women (and one man – Dominic Rowan as Geoffrey) plus the piano player (a wonderful Judith Barker) as they dance and talk but then get the opportunity (of a lifetime!!!) to perform at a charity show. Wow, how exciting! Will they be ready for the show in time? Will one of the students not drop her hat like she’s done many times in rehearsals? Will more dark secrets come out and, god forbid, will one of the woman pull down the towel where Geoffrey is changing behind to add a bit of excitement to this show because this show has no excitement at all?

    It’s The Full Monty without the Monty! Sure, the women do their best to get ready for the big charity show, but it’s hardly worth our time. We really don’t get to completely know, or sympathize, with the characters, and only a couple are likeable (Sandra Marvin brings a bit of sass to her role as the token black woman – Rose), and Oberman is wonderful, but there’s not really a whole lot to love in this production. Rowan is one note – not at all attractive or likeable as the lone man – he’s a widow but it would’ve been nice to put him in some sort of romance with one of the ladies. Written by Richard Harris in 1984, with this version directed by West End producer wonderwoman Maria Friedman, Stepping Out, which will be playing at the Vaudeville Theatre until June 17, 2017, probably won’t last that long. Do yourself a favour and just step right past the theatre.

    Book tickets now

     

     

     

  • THEATRE REVIEW | La Cage Aux Folles

    THEATRE REVIEW | La Cage Aux Folles

    ★★★ | La Cage Aux Folles

    La Cage aux Folles Theatre tour review
    CREDIT: Pamela Raith

    You’ve probably heard of or seen this musical in some form or other. You might know it as the 90’s Robin Williams/Nathan Lane comedy film The Birdcage, the original French farce and subsequent film version from the 70s or the often revived 80’s Broadway musical.

    It’s a queer little story in more ways than one. Drag queen Albin and his long-term lover Georges run a nightclub in St Tropez. Georges’ son (from a drunken one night stand) who they’ve raised together wants to bring home his fiancée and her ultra-conservative parents. There’s one condition, though. Albin must be hidden away for fear of embarrassing their son with his high camp ways. 

    Famously launching the gay anthem ‘I Am What I Am” onto the world, this is a musical that emerged during a storm of reawakened prejudice amidst the AIDS crisis yet managed to lure thousands of people into seeing a heartwarming and fun show about gay men in a committed relationship. It revved up an astonishing reaction in an army of straight men dragged along by their wives and girlfriends who then ended up dancing in the aisles and cheering on a flamboyant and camp main character as he fought against prejudice. Quite a feat.

    La Cage aux Folles Theatre tour review
    CREDIT: Pamela Raith

    This touring production is a bit of a paradox. It feels undercooked and underwhelming in parts and there’s a distinct lack of comic timing from swathes of the cast. In spite of this, it’s also incredibly good fun. Yes, it’s like a night at ‘Funny Girls” in Blackpool. Yes, it’s more Danny La Rue in pantomime than RuPaul. Yes, the drag queens would certainly get a dressing down from Michelle Visage for sloppy padding but it’s got an infectious charm nonetheless.

    John Partridge (best known for his role as Christian Clarke in Eastenders) as Albin shows his musical theatre pedigree and belts out a tune with panache. He’s also not a bad ad-libber (although be warned, public transport users. The show overruns due to this). The sets are stylish but wobbly. The costumes are glitzy and although the plot is absurd it’s tolerable. Forget production values and all that stuff though. All in all, it’s a fun night and the audience at The New Wimbledon Theatre were ecstatic.

    ‘La Cage aux Folles” is on a national tour throughout 2017, book tickets here

  • THEATRE REVIEW | Yank! The Musical

    ★★★★ | Yank! The Musical

    Yank! The Musical review
    credit Anthony Robling

    Manchester’s Hope Mill Theatre is the perfect setting for this MGM-style musical which is performed with style and honesty.

    This new musical, written by brothers David and Joseph Zellnik, is having its premiere at the Hope Mill Theatre in Manchester. It is an apt location for this innovative piece which buckles the trend of new pop-musicals. Yank! is billed as World War II love story. While ostensibly this is true – it’s actually much more than it gives itself credit for.

    The show centres around Stu, a young gay man, who is drafted into the army to fight in the Second World War. He struggles to find his literal and metaphorical place amongst the pseudo-masculine military men – a mission which is only complicated by his complex relationship with his fellow squadron Mitch.

    Musically and stylistically, Yank! has all the makings of the classic MGM musical. Though the second act goes to places which are considerably more candid and poignant that you might expect from a show consisting of tap-dancing men in khaki.

    Scott Hunter plays the timid Stu with a fragile believability and Barnaby Hughes’ Mitch has all the charisma you’d expect from an, albeit untraditional, leading man. The ensemble cast are also strong all-rounders and support the principle cast in moments of hilarity and sincerity alike.

    Despite the show being set almost 80 years ago, the tropes of this new musical are as current as ever. Substitute the frontline with a school playground, workplace or a homophobic family home, and you’ll see that the struggles of young gay men are not confined to the stories of history.

    The tropes surrounding institutions and homophobia couldn’t be more timely. In recent years we’ve seen the legalisation of gay marriage, the story of Alan Turing been turned into a Hollywood film, and scores of gay men being posthumously pardoned for sexual offence crimes.

    Baker, the show’s director, said that he didn’t want these stories to get lost from history. With this charming new musical hopefully set to become a staple of musical theatre repertoire, the story of Stu and Mitch, and the men they represent, will hopefully live on for years to come.

    Yank! The Musical plays at the Hope Mill Theatre until 8th April 2017

  • THEATRE REVIEW | One Love: The Bob Marley Musical, The Birmingham Rep

    ★★★★★ | One Love: The Bob Marley Musical

    Played with your heartstrings and lullabied your soul

    © Helen Maybanks

    Few names exist in the music industry where sparks have spread like wildfire across the world. Bob Marley was certainly the sensation that reached many people around the globe, and the feeling that ripples still decades later. Bob’s vision, talent and style have made him an eternal flame.

    The Birmingham Rep hosted ‘One Love: The Bob Marley Musical’, and an epic event it was! Written and directed by Kwambe Kwei Armah, ‘One Love’ celebrates the icon Bob Marley in a delicate, timeless and memorable way. Through the history of his early music career to his later achievements, the audience were transported on a journey evoking nostalgia and emotion from the depths of your core.

    Mitchell Brunings played Bob Marley in an effervescent way that drew you in instantly, and commanded the stage with mastery and ‘next-level’ leadership, as the remaining characters shone around him; upscaling the standard of the production. It was a flawless performance by Mitchell. As an ensemble, every artist was terrific and invested every ounce of energy into every move and musical note. Alexia Khadime who played Rita Marley was the second star of the show second to Mitchell Brunings, with her gifted musical range and was absolutely captivating in her acting. Alexia really added to the drama and darkness of the story and handled emotion expertly.

    The Redemption Song was my favourite moment in the show as the track was beautifully arranged to illustrate the moment Bob Marley’s life turned 360 degrees, returning to his routes.

    ULTZ designed the production and a vision that was fitting with the ambition of the show. Using multimedia against sets, creating moments in time with real footage corresponding with key events shown in the musical. People need to see this show for the education, entertainment and the ride down memory lane were as sweet as guava jelly!

     

  • THEATRE REVIEW | Dr Frankenstein – National Tour

    THEATRE REVIEW | Dr Frankenstein – National Tour

    ★★ | Dr Frankenstein – National Tour

    In a reimagining of the classic tale, Dr Victoria Frankenstein shuns her family as she relentlessly pursues her quest for knowledge and in her exploration of the part of existence where life and death meet. In her experiments with bringing the dead back to life, she creates a creature, which overpowers her and escapes. Haunted by her creation and by her guilt, her life begins to unravel as the creature returns a little too close to home.

    Photo Credit: Pamela Raith

    Mary Shelley’s definitive work is one which is firmly cemented in popular culture and one which is not easy to present with an original slant, which Northern Stage have tried to do. There were numerous themes of conflict portrayed within the production, with Victoria shunning religion in favour of science; her pursuit of knowledge at the cost of her compassion and the sacrifice of others for the preservation of one’s own interests. As the story arc progressed, there was something bittersweet in the way in which it takes a monster to make Victoria more human; despite how she treats her family and the way in which her self-driven ambition is ultimately self-destructive.

    Utilising a quasi-steampunk style set and, at times, some effective lighting; there was a relatively competent performance from Polly Frame as Dr Victoria Frankenstein; and whilst Ed Gaughan’s portrayal of the Creature was physically engaging, the way in which the creature spoke made many of his lines indiscernible. However, the closing scene was one which did carry some emotional weight and did bring the characters journey to a definitive and tender end.

    But sadly, the production overall was one which was never really hit its stride. The re-imagining of Dr Frankenstein as a female had such potential; but the struggles of Victoria to carve a path into the male-dominated medical profession or the challenges faced by her in breaking with the conventional female role was never really advanced, which, in the end, resulted in adding nothing of significance to the story. The timeline of the narrative was often unclear, with no clear demarcation between shifts in scenes or timeframes; and an intrusive sound design dominated the first act. But the biggest issue was that the production just lacked atmosphere and dramatic tension. A heavy reliance on the relationships between the Frankenstein family members meant for a limited narrative progression and the all too brief appearance of the creature throughout meant that the production felt more like a family drama than a gothic horror.

    Whilst there are some interesting themes on offer and despite a handful of redeeming features, this feels like a missed opportunity, and it is a genuine shame that the production never really achieves its potential, in what could have been a wholly refreshing and original take on a classic tale.

    Dr Frankenstein plays at the Sheffield Crucible Theatre (www.sheffieldtheatres.co.uk) until 15th March 2017  before continuing on its national tour. Visit www.northernstage.co.uk/whats-on/dr-frankenstein-tour for further details.

     

     

  • THEATRE REVIEW | Southern Baptist Sissies, Above the Stag Theatre, London

    THEATRE REVIEW | Southern Baptist Sissies, Above the Stag Theatre, London

    ★★★★★ | Southern Baptist Sissies, Above the Stag Theatre, London

    There’s something in the holy water at a Baptist Church in Dallas, Texas because all of the boys there are gay. And they’re not the only ones who have a story to tell. It all unravels in Southern Baptist Sissies, the new show at Above the Stage Theatre.

    Southern Baptist Sissies is actually two shows in one. Four boys live in a religious community where they spend their days praying and the rest of the time all they can think about are other boys! Then in a very hilarious, emotional and witty way, we see these boys grow up to become young men, full of passion, love and in one case, regret. Separately there are scenes set in a gay drag bar where two barflies have a conversation about their lives, their adventures and their regrets while the young men from the church segments portray other characters in the bar. It’s genius!!!

    Southern Baptist Sissies cleverly intertwines both stories while we get to know a bit about each character. Mark (Jason Kirk) does an outstanding job as the narrator who is also in love with the very sexy and muscular TJ (Daniel Klemens), whose other character is a sexy go go boy in the gay drag bar. James Phoon is a revelation as Benny, the most feminine of the boys, yet as alter ego Miss Iona Taylor, he’s the star of the show at the drag bar. The scene where’s he’s disrobing while pouring his heart out is absolutely stunning. And last but not least there is Andrew (Hugh O’Donnell), a sensitive young man who unfortunately has a very disapproving mother (Janet Prince). Don Cotter (as Preston) and Julie Ross (as Odette) are brilliant as the couple who exchange stories at the bar; two older people looking back at the past while contemplating what’s left of their future, with Preston always ogling the young men in the bar. It’s all fantastically put together in a fab script by Del Shores and superb direction by Gene David Kirk.

    After a few mediocre shows, Above the Stag has really upped their game with this show. It’s funny, relevant, emotional and at the end literally had the audience in tears. There are still tickets left for a few performances – BOOK THEM NOW – it’s a show you definitely don’t want to miss! If, and when, this show sells out, hopefully Above the Stag will be able to re-stage it when they move to a larger venue just down the road. More people really need to see this show.

    For tickets, please go to:

    http://www.abovethestag.com/shows/

  • THEATRE REVIEW | Who’s Afraid Of Virginia Woolf

    THEATRE REVIEW | Who’s Afraid Of Virginia Woolf

    Who’s Afraid Of Virginia Woolf

    Who's Afraid Of Virginia Woolf review
    Credit : Johan Persson 

    There are plays that are legendary and roles that have become iconic, making them feel impossible to reinterpret.

    The lacerating portrayal of George and his brash alcoholic wife Martha in Mike Nichols’ 1966 film by real life hard drinking, on/off couple Elizabeth Taylor and Richard Burton was a work of perfect genius.

    Surely this is impossible to equal? Watch and learn though. James Macdonald’s version is as close to perfection as can be and the assembly of a sublime script, a clutch of multi-award actors and a notable director have created something breath taking and rare.

    Have you ever had one of those nights where you’ve had too much to drink and end up holed up with one of those bickering couples who are determined to emotionally swipe at each other? Meet George and Martha: a middle-aged failed author, college lecturer and his drunken wife, daughter of the head of the college. New to the campus are Nick and Honey. He’s a prime piece of beef, a precocious high achiever in his late twenties with a mousy wife who can’t handle her drink. It’s way after midnight and the drinks are flowing. Let the games commence.

    Openly gay playwright Edward Albee was often asked about theories that the two couples in the play are based on gay men. He rubbished these claims and stated that had he wished to write about gay men then he would have done so. Whatever his intention this is a funny, painful play. Whether taken at face value as a play about relationships or as something deeper about the state of America or humanity, it’s a marathon at three hours long, but that’s worth taking part in in one and is as joyful as it is visceral. As the couples take bites out of each other the one-liners flow and the comedy morphs into something more painful and ultimately illustrates something touching and tender.

    Macdonald has captured more of the comedy in the piece than in some versions and Imelda Staunton and Conleth Hill are pitch perfect actors. Luke Treadway manages a fine depiction of cocky male confidence and it would be remiss of me not to mention his equally fine buttocks that he moves to strong effect. Imogen Poots is endearing as Honey. Their iconic roles and hard for an actor to make his or her own but the team manage this with aplomb.

    This is theatre at its finest. Go and see it now. It’s not often something this hot comes to town.

    Who’s Afraid Of Virginia Woolf plays at the Harold Pinter Theatre until 27th May 2017

  • THEATRE REVIEW | Frankenstein, Wilton’s Music Hall, London

    THEATRE REVIEW | Frankenstein, Wilton’s Music Hall, London

    ★★★★★ | Frankenstein, Wilton’s Music Hall, London

    A re-imagining of the classic story Frankenstein is told to amazing effect in the new show simply titled ‘Frankenstein.’

    In the perfect venue that is Wilton’s Music Hall, George Fletcher is a wonder as he portrays both Frankenstein and The Creature. Fletcher lives and breathes his performance for every one of the seventy minutes he is on stage. Assisted by Rowena Lennon as the chorus and as his wife Elizabeth, Fletcher gives a very physical performance where he morphs from man to grotesque monster, right before our very eyes.

    Working with a bare minimum on stage, which includes two bright lamps, a chest, and a full length mirror, Fletcher as the creature learns to talk, say his name, while an audience member engages him to repeat his name, then her name. We are witness to this, Fletcher being both man and monster, and it’s a show and performance that is riveting, raw and amazing.

    Wilton’s Music Hall has just undergone a £3 million programme of restoration work to ensure the infrastructure of the building is sound, but it still might look like it did when John Wilton combined the existing properties in the 1860’s to turn it into what it is today. it looks, and feels, when you walk in, liked you’ve stepped back in time. Separate drinking areas encompass the two story venue, with two bars and a kitchen that serves a small a variety of food, including pizza. But it’s the actual Music Hall where the magic happens. And Tristan Bernays adaptation of the story of Frankenstein, with direction by Eleanor Rhode, is the perfect show for this venue. Shadows, high ceilings, and elevated sound all contribute to the eerieness of the performances and subject matter. Go see it now because Fletcher, fresh from graduating from the Royal Welsh College of Music and Drama, is one to watch!

    Frankenstein continues it’s run until March 18, 2017. To buy tickets, go to:

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  • THEATRE REVIEW | The Girls, Phoenix Theatre, London

    THEATRE REVIEW | The Girls, Phoenix Theatre, London

    ★★★★ | The Girls, Phoenix Theatre, London

    There are several women of a certain age taking their clothes off in the West End.

    No, these women are not strippers – they’re in a musical comedy called The Girls based on the famous calendar girls of Yorkshire who took their clothes off for a calendar to raise money. And it’s no surprise that the brave actresses in this show take their clothes off to pose, just like the real women!

    It’s a good time for the audiences in a show written by perennial favourite and Take That member Gary Barlow, along with Tim Firth (who co-wrote the movie). It provides lots of music that carry the Take That sound – top 40 middle of the road – enjoyable even at times when the storyline is a bit uneven and a bit too simple.

    Almost everyone knows about these girls (well, they are not exactly girls – they are ladies), and if you haven’t seen the 2003 hit movie (which starred Helen Mirren and Julie Walters), then ‘The Girls’ tells their story again. Anna (Joanna Riding) has lost her husband and she wants to raise money for a memorial couch at the hospital where he was treated to replace the broken down couch. Chris (an excellent Claire Moore) comes up with the idea (after seeing a Dutch women’s stripper calendar) that instead of having their usual bake sale, why don’t they pose, not naked, but nude, for a calendar? She rallies her local women’s club – W1 – but of course there’s dissent – especially by leader Marie (Marian McLoughlin) – who vehemently opposes the idea – she’ll have none of that – she doesn’t want to destroy the reputation and image of the club where they are trying to be role models for the younger generation. Of course, as you can guess the women do eventually disrobe for a calendar and the rest is history.

    The Girls is a very lighthearted (and very lightweight) musical which combines hummable tunes with a weak storyline. But it’s credit to all of the actresses who actually disrobe on stage – they do it with such grace and elegance (and lots and lots of humour) that I wished the show would’ve stretched this bit even more (no, not just to linger more at the naked women but to celebrate their openness and non-reserve!). The women are all excellent, but Michelle Dotrice as Jessie really shines as the elder woman who takes if off with such candour. Another storyline in the show goes nowhere – Chris’ son Danny (a good Ben Hunter) and his friend Tommo (Josh Benson) try to impress the rebellious Jenny (Chloe May Jackson) but the storyline gets dropped, and Tommo disappears for most of the second act only to come back with one line. The set is a bit confusing (bookcases litter the stage – piled very high, used as a door as well, and an ugly scary tree pops down every now and then). But the catchy tunes such as ‘Yorkshire’ and ‘Dare’ will have you humming for days afterwards. The Girls will put a smile on your face and will remind you that being ‘nude’ is not a big deal!

    The Girls is now playing at the Phoenix Theatre until July, 2017.

  • THEATRE REVIEW | Funny Girl, Palace Theatre, Manchester

    ★★★★ | Funny Girl, Palace Theatre Manchester

    In the opening lines of the show, Fanny Brice declares, ‘That’s where I live, on stage.’ In a rip-roaringly fantastic return to the show by Sheridan Smith; it’s impossible to believe she belongs anywhere else.

    The narrative of Funny Girl lacks originality. The rags to riches rise to fame, peppered with a predictably turbulent love story. These are popular tropes of the post-war musical, and Funny Girl is no exception. Act one of Isobel Lennart’s book just about generates enough excitement to retain one’s interest in the story. Act two doesn’t fair too well in this department. Michael Pavelka’s sparse, asymmetrical set design left the stage feeling desolate at times. And, while some have interpreted the precariously tilted proscenium arch as a representation of Fanny’s life – I think it’s a metaphor too far for this light-hearted musical comedy. However, like many things in this production, the lack of dramatic pace and uninspiring set design dissipates in a heartbeat when Smith is on stage.

    The show is an unapologetic star-vehicle for the lead role, which was popularised by Barbara Streisand in the 1969 film – an indisputably tough act to follow. But Funny Girl is the story of vaudevillian Fanny Brice, and her meteoric rise to fame in the Ziegfeld Follies – a story which has distinct echoes of the show’s star Sheridan Smith. Smith herself is fast becoming the doyen of British theatre, and with performances like this, the hype is more than justifiable.

    She sings with ample vocal ability and dances with confidence and flair. But Smith is ostensibly an actress – and it is her sublime characterisation, which never falters, where her unique ability to captivate is most alive. Her character Fanny claims to have ’36 different expressions’. To say Smith has expression is to dilute the honesty of her performance. In the wrong hands this role can be two-dimensional, but Smith’s astute comic timing, palpable likeability and wholly believable vulnerability chimes the chord of truth every second she is on stage.

    The ensemble also gave a solid performance, and orchestra was in fine shape too. The same could not be said for my legs after being sat in the grand tier of the Palace Theatre in Manchester for three hours. I normally give the note: ‘restricted legroom’ a perfunctory glance and have no problem. I think, the tangible desire for the audience to jump to their feet was to congratulate Smith on a stellar performance – but the audible sigh of relief from my fellow grand tier survivors leaves one to wonder. Seat issues aside: a star was not born at the Palace Theatre this week, but rather cemented into history as one of our most talented leading ladies.

  • THEATRE REVIEW | The Wild Party

    ★★★★ | The Wild Party

    The Wild Party review
    CREDIT: Scott Rylander

    Have you ever been to one of those parties where the memory of it makes you shudder and sigh in equal measures? You know the kind: the music’s loud, the people are louder, there’s way too much gin, people are taking drugs like they’re about to become illegal or something, your boyfriend sneaks off and does someone else in another room and you can’t quite even remember what or even who you did. No? Me neither. I’m more of a Bridge and canapés person but I like to dream.

    ‘The Wild Party’ depicts just such a party but back in the era of Vaudeville, dancing the Black Bottom and blasting out jazz. Based on a controversial narrative poem from 1927, this musical is a rollicking romp and a visual treat. Queenie and Burrs are ageing Vaudeville stars that decide to liven up their flagging relationship by throwing a wild party with a bath tub full of gin and an assortment of bohemian friends with fluid sexuality. Cue the entrance of old friend Kate with her hot gigolo lover, Black and things get messier than expected.

    Award-winning choreographer Drew McOnie (In the Heights, Bugsy Malone, Jekyll and Hyde) directs the piece and injects it with jaw dropping moves. Limbs flail, jazz hands waggle and a sinister pair of brothers hot-shoe it all over the stage. It’s visually dazzling if slightly overwhelming at times. The music is pure 1920s jazz and has enough oomph to carry the show which is needed as there isn’t a huge amount of plot: there’s a party with sex, drink and drugs and it goes wrong.

    Original Les Miserables star Frances Ruffelle is a treat to watch as Queenie. Simon Thomas is painfully handsome as gigolo Black and Dex Lee is a suitably sinister and sexually appealing Jacky, a coke-crazed bisexual rich kid. It’s a show that’s brash, loud and relentless which is no bad thing. What it lacks in plot and delicate characterisation it more than makes up with rousing choreography and, to quote another show featuring Vaudeville stars, ‘razzle dazzle’.

    The Wild Party plays at The Other Palace until 1st April 2017