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 | Gaslight – Lyceum Theatre, Sheffield and National Tour

★★★|In an elegant townhouse in Victorian London, Bella Manningham is slowly losing her mind. Pictures keep disappearing, trinkets seem to move from place to place and items go missing without explanation. Add to that the mysterious sounds from the top floor of the house and the dimming of the gas lamps and Bella’s sanity is called into question. But what is the secret history lurking in the walls of the home and just who is the stranger who calls unannounced at her home one evening? Why does Bella’s husband, Jack, keep reminding her of her mother’s insanity and what is the connection for all of them to a 20 year old unsolved murder?

Photo Credit – PR Supplied

Patrick Hamilton’s play is a direct descendant of the Victorian melodramas that it portrays. Continuing the themes of innocence menaced by something darker, the plays script, setting and overall feeling is one of claustrophobia and oppression. Given that the play is set in a single room and given that it is, essentially, a three hander, the play has to rely heavily on the performances of the actors to carry it through. Kara Tointon’s portrayal of Bella was fine, although the increasing histrionics started to grate a little with the progression of the story. Rupert Young’s turn as Jack Manningham was well rounded, initially quite charming and alluring, but subsequently developing his character to include an uneasy undertone. But it was Keith Allen’s performance as the mysterious visitor which stood out the most, performing his stern and determined character with his tongue just slightly in his cheek, lightening what is otherwise quite a bleak drama with a soupcon of humour and playing to his strengths.

The stage set is a detailed drawing room, which has a forced perspective and increases the claustrophobic feel of the piece, which is enhanced further by some atmospheric lighting. The productions sound design was nothing more than functional and the sound in the theatre allowed for every word to be heard clearly, which is essential with such a wordy script.

As a whole, the piece was a fairly mixed bag. The first act nicely established the characters from the outset and drew the audience in as to the mystery, hinting at the possibility of the plot twists which may come, and ending the first act, story-wise, on a decent cliff-hanger. The second act seemed to lose its way slightly, becoming a little muddled and failing to deliver on the anticipated plot twists, instead, providing a rather straight narrative and one which is not entirely unpredictable. There are a couple of cattle prod scares which highlight the supernatural element of the story, although in a rather clumsy and unnecessary way, and this is an element which is never really followed through.

Gaslight appears, from the outside, to be mix of The Woman In Black and An Inspector Calls, but in reality is a straight Victorian melodrama, portraying a relatively linear narrative with a socially aware undercurrent addressing the treatment of Victorian women and the discrepancies in equality faced by them. Overall, it is a fairly engaging but lightweight mystery / thriller worthy of a watch and which has an ultimately satisfying ending.

Gaslight is currently at Sheffield Theatres (www.sheffieldtheatres.co.uk) until the 25^th February 2017 before heading to Richmond and Cardiff.

22nd February 2017
THEATRE REVIEW | Cirque Berserk, Birmingham Rep

Dangerous, daring but a little spark-less ★★★

©circusphotographer.com

This is the second time that I have seen Cirque Berserk at the Birmingham Rep, and I have mixed feelings. Mostly, I really enjoyed the acts, and there were moments that got you on the edge of your seat, gasping in horror; but others that made you cringe.

There were your usual circus’ performances such as acrobatics, flame juggling, and even a clown character, which was quite funny; it was funnier when you heard the children laugh out loud in the audience at his every gag. The acts that stood out were Tropicana Troupe, a Cuban acrobat team that catapulted themselves across the stage landing perfectly on a crash mat, and in the second half flying halfway across the air to land precisely on a chair high up off the ground. Of course, their god-like bodies were also a show-stopper. Jose and Gaby performed a stunning contemporary/acrobatic dance routine where Gaby suspended herself with just one hand using Jose’s forehead as support. This blew the audience away, and we were glued to their beautiful movement throughout. Odka was also incredibly mesmerising to watch as a contortionist; Odka shot an arrow against a target by using her feet! Then we saw her spill out of a small bottle-like container. The four motorcyclists inside a metal dome they call – Globe of Death – was extreme and jaw-dropping, and was a brilliant way to end the show.

The other artists appeared little awkward and kept demanding rounds of applause which took away the moments that were really stunning and hand-clapping worthy. Bolas Argentina were very good in the second half, but the first half it was awkward when Germaine tossed the bolas against a springboard but it was a lacklustre effort. Then, Gabriel did a similar trick and it had so much more energy and rhythm to it. The Berserk Dancers were disappointing, as every time they appeared on stage, it looked like they were forced to be there and it made some moments cringing and laughable with only one or two really going for it. Timbuktu Tumblers were very good, but again, a lot of applause begging after every little thing. British audiences, I guess, like to be left alone and want to clap when they feel it necessary. It was especially awkward at the very end when the audience clapped, but the artists wouldn’t move until there was a complete standing ovation, which ended with an unenthusiastic standing ovation from half of the audience.

Overall, enjoyable, but for a circus with some very good acts, it lacked a punch.

21st February 2017
THEATRE REVIEW | La Ronde

★★ | La Ronde

CREDIT: Ray_Burmiston

Arthur Schnitzler’s turn of the century play ‘La Ronde’ is a frequently performed and adapted classic, partly because it’s an intriguing concept and also often because it’s usually staged with just two actors and a minimal set, making it easy to put on.

Taking the idea of a roundel, where people are linked through their sexual encounters, the original play looks at power, class and politics from the standpoint of sexual encounters. For example, in the original: a prostitute has sex with a soldier, the soldier has sex with a parlour maid and the parlourmaid has sex with a young gentleman and so on till we complete the circle back with the prostitute. It’s a bit like six degrees of separation (or six degrees of Kevin Bacon if you prefer). David Hare adapted the play into ‘The Blue Room’, which became notorious for featuring a naked Nicole Kidman. The gay version, ‘F*cking Men” was a witty and timely adaptation with cleverly drawn characters and a frisson of raunchiness. Sadly this version flounders and is an anti-aphrodisiac.

Writer/director Max Gill has come up with a novel take on the concept. His version features four actors and Wheel of Fortune type spinning wheel featuring their faces. Each scene is preceded by a spin of the wheel which results in a choice of which actor joins the remaining actor from the previous pair, meaning that there are (apparently) over 3,000 possible actor combinations in the play. Also, this makes the play gender neutral. The couples could be two women, two men or a man and a woman. The pronouns and language in the script allow for this. It’s a lively concept and one served well by Frankie Bradshaw’s arresting set and Jack Weir and Nathan Klein’s atmospheric sound and lighting. The gimmick works but sadly it’s not at all well served by the script.

The tone of the play is light comedy and despite some glimpses of promise and the odd flash of insight, on the whole, the script feels dated and pedestrian with few laughs and little depth. The characters mostly feel stereotyped and the acting is turned up to full stagey volume. I found myself looking forward to each scene ending and the wheel to spin again. I love a gimmick and am all for innovation and originality but there needs to be a more sturdy and polished script to make this work.

La Ronde plays at the Bunker Theatre until 11th March 2017

16th February 2017
THEATRE REVIEW | William Shakespeare’s Long Lost First Play (Abridged)

Delightful, charming and uproariously funny. ★★★★★

© Geraint Lewis

Reduced Shakespeare Company put on a masterful performance combining Shakespeare’s most and least known plays and characters into a fiendish cauldron, summoning up hilarious crossover tales that made the audience laugh out loud. Reed Martin and Austin Tichenor designed ‘William Shakespeare’s Long Lost First Play’ with all Shakespeare levels in mind. Whether you are a beginner or a scholar, there was something for you to laugh at, recall the connection, and laugh again. Perhaps rekindle fond memories of school, rehearsal and at a theatre.

The three actors commanded their craft with expertise and mastery. It was very clear, very quickly, that Joseph Maudsley, Matthew Pearson and James Percy had studied, played and understood the plots and twists written by the Bard. I chiefly loved the scene in which one actor was attributing Disney connections with Shakespeare’s plays. The ‘Frozen’ and ‘A Winter’s Tale’ link was one of the funniest moments because when the other actor contested that connection, the other said ‘let it go’. The speed in which the three actors morphed, transformed, and changed to represent the different characters was astonishing, as well as the effervescent energy that glued the audience to their every move. The plot crossovers were also something to remember, in particular, Lady Macbeth coming onto Hamlet, and Richard III getting it on with Falstaff. It was so enjoyable to watch the twists and contrivances that got them to be together. Archenemies Ariel and Puck were the thread that brought the stories together, played by Joseph Maudsley and James Percy respectively, convincingly demonstrated that all of Shakespeare’s plays could coexist in the same universe. Who knew?

The set was very stripped down with only one arch as the backdrop. However, this made it even more special because it became all about the actors, with their props and fanciful attires that coloured the stage with the gags, tricks, and exquisite storytelling that we saw last night. I want to see them again!

Running 14^th and 15^th February.

15th February 2017
THEATRE REVIEW | Stories To Tell In The Middle Of The Night, Birmingham Rep

Stories To Tell In The Middle Of The Night written and performed by Francesca Millican-Slater was not what I expected. ★★

© Graeme Braidwood

Its premise explores the many thoughts that people have before trying to fall sleep, and then still not being able to do so hours later. It’s a great concept for many of us can relate to the drivel that goes through our minds prohibiting our brain to switch off and go to sleep. However, Francesca’s stories were too disconnected for the average person to relate to. The odd story resonated some recollection in the back of our memory archive – like the supermarket couple scenario, but the rest were just tales that didn’t quite grip spectators, having to wait a while for a punchline. It would be a great sketch for a Spoken Word night, but as performance it lacked spark. We were merely watching a woman talk about things that go on in her own head. Sadly, they were things that not many people could connect to, alienating us in parts. It was neither comedic, nor was it dramatic. Stories To Tell In The Middle Of The Night would have been something to play on the radio to help you fall asleep.

There were some poetic notes to the writing. So, audibly, and in some instances, it was pleasing; particularly when Francesca came back to the middle podium and described where we were in the night using astronomical angles and nautical references to help us imagine the arrival of the dawn, and the familiar feeling of ‘oh shit, I need to be up in a few hours’.

The Rep Foundry is a fantastic programme that gives new writers the opportunity to create, and later perform, their own work. Perhaps the next draft would benefit from a framing device whereby the three podia that the protagonist utilises may represent the id, ego, and superego of the insomniac psyche portrayed. As it stands, the stream of consciousness text is lost in the back waters.

14th February 2017
THEATRE REVIEW | Everybody’s Talking About Jamie – Crucible Theatre, Sheffield

Jamie is 16 and is not like his friends at school. His best friend wants to be a doctor, but he wants to be a drag queen. Raised by his mum in a single parent family on one of Sheffield’s tougher estates, Jamie finds himself, and his alter ego, Mimi Me, with the help of fading drag queen, Hugo, and with the support of his ever doting mother and her best friend. But Jamie’s difficult relationship with his dad dents Jamie’s confidence; and the school aren’t particularly enthused about the big question on everyone’s lips – namely, whether Jamie will go to the school prom, or whether Mimi Me will. ★★★★★

© Johan Persson

Writer Tom MacRae’s script is beautifully written, packing into it a wealth of instantly likeable and relatable characters, plenty of laugh out loud one liners and genuine heart. He gets the story across by celebrating the protagonist rather than victimising him and Jamie’s journey is well paced, moving and entertaining. Complementing the book perfectly are the musical numbers written by Dan Gillespie-Sells, which, quite honestly, doesn’t have a bad song amongst them. The show opens with “You Don’t Even Know It”, a bubbly piece of contemporary pop and each and every song that follows is a delight. Balancing out the upbeat numbers are some tender ballads, including “It Means Beautiful” and “My Man, My Son”, the latter quite literally bringing a tear to my eye. Kate Prince’s choreography fuses multiple styles of dance, from street dance to ballet, with energetic, fresh and uplifting routines, whilst Jonathan Butterall’s steady direction seamlessly blends comedy with pathos and makes the most of his well-rounded and diverse cast.

With such well written characters, you need a solid cast to bring them to life. John McRea is delicious in his portrayal of Jamie, vacillating between oozing self-confidence and brimming with self-doubt, most of which was done whilst strutting around in a pair of heels so large that even RuPaul would shy away from them. Josie Walker gives a touchingly understated performance as Jamie’s Mum and belted out her two main numbers with a powerful voice which seemed to come out of nowhere; and she was complimented well by Mina Anwar’s comic performance as her best friend, Lee.

Everybody’s Talking About Jamie is a coming of age story which is more reflective of today’s society than most of the genre. Gone is the stigma of sexuality, and gone is the major struggle for acceptance by his peers. Jamie is embraced by his supportive mother and loved by his friends at school. The story is more about Jamie’s internal struggle and his relationships with family, rather than it being “him against the world”. This refreshing approach makes for a more intimate and focussed narrative and one which genuinely pulls you in. It has been a while since I have seen an audience get so much behind a show, with cheers of support echoing around the theatre at key points in the story, which can only be a testament to the quality of the production.

Everybody’s Talking About Jamie is everything a musical should be – well-crafted with instantly catchy songs, makes you laugh, cry and cheer and amounts to a thoroughly entertaining piece of theatre with a strong heart at its centre. Jamie is not to be missed, and is simply uplifting, joyous and inspirational.

Everybody’s Talking About Jamie is currently playing at The Crucible Theatre, Sheffield until 25^th February 2017. Visit www.sheffieldtheatres.co.uk or call the box office on 0114 249 6000

https://soundcloud.com/user-872483887/sets/everybodys-talking-about-jamie

14th February 2017
THEATRE REVIEW | The Boys in the Band, Vaudeville Theatre

★★★| The Boys in the Band

A play that was originally produced off Broadway in 1968 has returned to the West End again, it’s the famous gay play ‘The Boys in The Band.’

Written by Martin Crowley, and fresh from last year’s run at the Park Theatre, the durability of this play is a testament to the crisp and hilarious writing, and the performances of the actors, of the trials and tribulations of eight gay men (and one possibly straight man) which makes this play endure.

The story, in case you don’t know, is about a birthday party for Harold (a very good Mark Gatiss), a posh 42-year old gay man who seems to have everything. The party takes place in the very nice apartment of Michael (Ian Hallard, Gatiss’s real-life husband), with posters of film divas (Marilyn Monroe, Bette Davis and lots of Judy Garland) that cleverly hang on the walls. The first to arrive at the birthday party is Donald (Daniel Boys), good looking and employed as a cleaner. He seems to be the most stable of the bunch. Then there’s Hank (Nathan Nolan) and Larry (Ben Mansfield), a couple who bring down the mood because of the constant tension between them. Do they really love each other? Then there’s Emory (an excellent James Holmes – the true star of the show). He’s witty, camp, funny and hilarious with the best lines. Emory, incidentally, has hired a not too smart male stripper named Cowboy (Jack Derges) who was supposed to arrive at Midnight (Midnight Cowboy – get it?), but arrives before the birthday boy gets there. He’s as hot and sexy as you would expect, and Derges plays him perfectly. Then there is a straight friend of Michael’s who comes to the party because he happens to be nearby. Throw this in along with a phone game and all of this creates more drama and tension in a play with a multitude of characters that you will either love or hate, though more than likely you will hate them

‘The Boys in the Band’ is a play that is very outdated. It portrays gay men as bitter, angry and more importantly, lonely and outcast, but times have changed. And this show, which has been produced many times, has the same cast who were in the Park Theatre production last October. The actors are all very good (Holmes is really living it up on stage and looks like he’s really enjoying himself), the set is very clever, and the rest of the cast are very good, but it’s time to put this story to bed. ‘The Boys in the Band’ has been done to death. And as one of the characters says in the show ‘show me a happy homosexual and I’ll show you a gay corpse’ – this show is no longer relevant.

‘The Boys in the Band’ is playing at London’s Vaudeville Theatre until Saturday, February 18th.

https://www.nimaxtheatres.com/vaudeville-theatre/the_boys_in_the_band

12th February 2017
THEATRE REVIEW | Ghost – The Musical – Sheffield Theatres & National Tour.

★★★| Based on the 1990 film of the same name, Ghost follows the story of Sam and Molly, whose life together is cut short when Sam is murdered in a seemingly random street robbery. Sam’s ghost stays close to Molly, but he soon finds out that the cause of his death was no accident and that the reasons behind his murder lie a little too close to home. Getting in contact with Oda Mae Brown, a fake medium who can actually hear him, Sam sets out to convince Molly that he is still with her, and to protect her from danger.

PR Supplied

This musical, with songs and lyrics written by Dave Stewart of The Eurythmics has been around for some time, and this new production has overhauled the show, giving it a clean, contemporary and fresh feel. The show follows the plot of the film closely, complete with the famous scene at the potter’s wheel to the dulcet tones of the Righteous Brothers.

With a strong central performance and a beautifully natural voice, Carolyn Maitland stood out from the cast with her performance of the recently widowed Molly, whilst Jaqui Dubois gave a sass-filled comedy performance as Oda Mae, hitting the right comedy notes and bringing some relief from the on-stage sadness portrayed by the lead characters. Whilst there was nothing really wrong with his performance, Andy Moss (Hollyoaks), for some reason, didn’t particularly convince as Sam, not quite having the gravitas and weight that would really drive the character home convincingly.

The set was impressive for a touring production, which constantly changed and adapted to portray the different locations, and when you throw into the mix the well-constructed lighting scheme by Nick Richings, an immersive sound design and a well-balanced audio which picked up the clear diction of the cast, you had a technically solid production.

But where the show falters, surprisingly, is in its musical numbers. The songs themselves were enjoyable enough to listen to during the show, but despite the pop credentials of the writer, they were instantly forgettable and didn’t contain the usual hook or melody which has you humming them as you leave the theatre. The songs fell somewhere between trying to progress the story and trying to be an entertaining piece of pop, but tended to fall between the two. What was also rather disappointing was the choreography, which was rather simplistic and lacklustre, adding to the feeling that the songs weren’t either show stopping production numbers or narratively progressive.

Despite its faults, his reworked production improves significantly on previous versions of the show, pulling out more of the emotional aspects of the story and proving to be a pleasant, if ultimately fairly forgettable production and one which fans of the film will certainly delight in.

Ghost is currently on National Tour until the 22^nd April 2017 (www.kenwright.com/microsite/ghost-the-musical/). Ghost was reviewed at Sheffield Theatres, whose production of Everyone’s Talking About Jamie premieres on the 9^th February 2017. Visit www.sheffieldtheatres.co.uk for details.

7th February 2017
THEATRE REVIEW | What’s In A Name, Birmingham Rep

★★★★ | A modern farce that delivers ounces of emotion, comedy and suspense. A full platter!

(Photo credit: Robert Day)

What’s In A Name, written by Alexandre De La Patellière and Matthieu Delaporte, stages a dinner party packed with many surprises and twists that kept you on edge, and slightly edgy, while holding your belly for laughing. It is set in London, and the story centres itself around the name of Adolphe which Vincent jokes about calling his son when he is born. The story then darkens as secrets are revealed within each of the five guests.

Sarah Hadland, who most would remember as Stevie in Miranda, stole the show with her multi-emotional portrayal of Elizabeth. Sarah was completely natural and every line and action was delivered with sheer dexterity and conviction. I was so happy to see Sarah aka Stevie up close, and to not see her as Stevie at the same time, which was something I really enjoyed. Raymond Coulthard was magnificent as Carl, and was great to see him back at the Birmingham Rep after watching him in King’s Speech. Carl carried the biggest secret and Raymond played the audience well, never giving any of it away. Nigel Harman, Eastenders, was formidable as Vincent, Elizabeth’s younger brother. Nigel conveyed him with such energy and natural flair that one could not help but be drawn every time he spoke and moved. Jamie Glover was excellent with his cross-examining scenes as Peter, challenging Vincent and others to prove a point. He made the set appear like it was his own home with the way he perched on or leaned against features in the front room signalling natural familiarity. Olivia Poulet as Anna was a great ingredient to turn the drama on its head with coming in quite late and revealing a hidden secret. Olivia was charismatic and held her own against the other theatrical titans.

I seriously suggest everyone go and see this as it draws you in with the clever humour and sophisticated drama – you just didn’t know what you were going to get!

1st February 2017
THEATRE REVIEW | Dirty Great Love Story, The Arts Theatre

★★ | Dirty Great Love Story, The Arts Theatre
CREDIT: Richard Davenport
I’m a bit unconventional in my views when it comes to romance. I strongly believe that sex before the first date is a sensible action (who wants to sit through a tedious meal with a fake smile plastered on your face when you can cut to the chase?) but I also have a secret love of ‘will they won’t they’ romantic comedies.

Slam poetry champion Richard Marsh and writer/performer Katie Bonna originally conceived Dirty Great Love Story as a short pub performance piece.

It evolved into a longer two-hander play and was well received at the Edinburgh Fringe in 2012 where the writers also performed the piece. Outlining a meeting between gauche and shy Richard and recently heartbroken Katie on a stag and hen do, followed by a one night stand in a Travelodge, the play then goes on to tantalise with an almost/on and off romance, that burgeons in spite of obstacles.

It’s classic rom-com but recited partly in verse.

In this new incarnation at The Arts Theatre, the pair is played by actors with accomplished performances from Ayesha Antoine and Felix Scott. This is where the problem seems to lie, though. Maybe performance poetry works better coming from the mouth of the poet and in this case, fails to translate over easily despite the actors’ efforts.

In spite of their skill as performers, the verse feels stilted coming from their mouths and sits oddly with a touch of the painfully twee about it in parts. Yes, they’re sometimes talking about the dirty bits of this relationship, but in a Richard Curtis style romantic comedy format with poetry that sounds like Pam Ayres on a 1980s edition of That’s Life.

It splutters dimly more that it illuminates and feels tired and dated. Not so great and a tiny bit dirty but a love story nonetheless, there are flashes of brilliance but they feel few and far between.

When the funny moments hit they’re worth waiting for, there’s a clever set by Pia Furtado with bits that drop down and pop up to illustrate various scenes but overall it all falls a bit flat.

Dirty Great Love Story plays at The Arts Theatre until 16th March 2017

28th January 2017
THEATRE REVIEW | Holding The Man, Jack Studio Theatre

★★★ | Holding The Man, Jack Studio Theatre

CREDIT: Nicholas Chinardet

Holding the Man is a play by Tommy Murphy (Strangers in Between) that was also made into a film in 2015.

It’s based on Timothy Conigrave’s 1995 memoir, an elegy to his late partner, John Caleo. The pair met as teenagers in 1970s Australia and fell in love, facing parental disapproval, trying to find where they fitted into society and experimenting with their sexuality. Sadly, Conigrave died aged 34 from an AIDS related illness shortly after completing the book. This is more than just a play about the AIDS crisis, though. It’s a tender love story and a reflection on the problems faced by young gay people, which is still pertinent today.

Director Sebastian Polka has taken a clever starting point to staging this play. The play is wide in its scope, covering Tim’s Catholic school upbringing through to his death, looking at his first experiences of the gay scene and gay activism, his career as an actor and the highs and lows of his relationship with John. Polka takes Tim’s acting career as a point from which to present the characters with the stage being a dressing room where Tim conjures up scenes from his life. Tim is played with skill and sensitivity by lean and angular Christopher Hunter along with astonishingly good muscle hunk Paul-Emile Forman as John. The astonishing thing is that this is Forman’s professional debut and he gives an incredibly subtle and nuanced performance. The rest of the characters from Tim’s life are played by four actors who constantly change clothes and accents along with their roles.
It’s an interesting play that is well staged but ultimately the problem lies in the play itself. It’s a major task to try to present twenty-five years of a man’s life in such detail in one play.

The focus on so many events ends up detracting somewhat from the whole effect and leaves it feeling oddly bloodless. The actors barely have space within the dialogue to convey much and the piece occasionally feels superficial and has less emotional depth than it could have.

Holding The Man plays at the Jack Studio Theatre until 4th Feb 2017

24th January 2017