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 | The Shawshank Redemption – Sheffield Theatres and National Tour

★★| Andy Dufresne, a quiet and mild mannered banker, arrives at Shawshank Prison after being convicted for the murder of his wife and her lover. As he settles into his new life, he befriends old timer, Red, the prisoner fixer and a man who is known to “acquire certain items from time to time”. Andy splits his time between maintaining his innocence, carving rocks, avoiding the violent “sisters” (a predatory gang of sexually violent inmates) and trying to improve the lives of those around him. But when Andy overhears a conversation between two of the guards, he is provided with opportunity which he simply cannot pass up.
Picture Credit – Mark Yeoman

The Shawshank Redemption is based on the Stephen King novella, and the 1994 film of the same name. The film has gone on to become one of the nation’s favourites, and with this in mind, the stage show has some big prison-issue boots to fill. The static set is reflective of the prison setting, with its tall, oppressive walls towering over the proceedings; and it’s bland, dreary appearance is being quite befitting for the fictional prison. In the book and the film, the story of Dufresne’s time in Shawshank is one which is filled with optimism and hope; and it is the contrast of that emotional warmth juxtaposed with the cold starkness of the confines of the prison walls which works so well.

Paul Nicholls (Eastenders) leads the cast as Andy Dufresne, with TV stalwart Ben Onwukwe (Eastenders, London’s Burning, Coronation Street) playing Red, both of whom gave functional performances without ever really capturing the refinement of the two lead characters or their relationship. The remainder of the cast, sadly, seemed to replace acting with shouting, leading to some rather unsubtle performances; with only Jack Ellis in his portrayal of the Warden and Nicolas Banks as Tommy ever really finding their feet.

Adapted by Owen O’Neill and Dave Johns, the script is choppy and never seems to gather momentum or develop into having any natural flow, with somewhat clunky transitions from one plot development to the next. Rather than allowing the drama to play out on stage, comedic moments are added to scenes of tension, which had the audience laughing when they should have been on the edge of their seats, lessoning the impact of the story and the events portrayed. Whilst the story does not shy away from the harsh reality of prison life, David Esbjornson’s direction is as bland as the prison walls and as heavy handed as the prison guards themselves, often leaving much to the imagination and hinting at the acts of violence rather than portraying them.

The show is a bold attempt to bring to life something which is so well loved, but as much as it pains me to say it, the writing, acting and direction all had their own issues which meant that they never really came together; and whilst some of the audience clearly enjoyed the show, for me personally, it simply didn’t work.

The Shawshank Redemption is currently winding up its national tour. The show was reviewed at Sheffield Theatres (www.sheffieldtheatres.co.uk ), who are soon hosting the world premiere of a new musical based on the BBC3 show “Jamie: Drag Queen at 16” Search #TalkingAboutJamie.

29th November 2016
THEATRE REVIEW | Testosterone, New Diorama Theatre

✭✭✭✭ | Testosterone
CREDIT: Testosterone
Kit Redstone – a female to male transgender actor – explains what it’s like to enter a men’s locker room for the first time in the new play Testosterone.

The play, at the New Diorama Theatre near Warren Street tube station, is a semi-autobiographical look at Redstone’s coming out as a man and what it’s like to do so in such a testosterone-heavy environment as the locker room. The show also briefly delves into Kit’s previous life as a woman, as well as the first time he received testosterone – at the doctor’s office.

Told with a bit of drama, and humour, it’s a story that Kit is brave enough to have written and again to tell on stage. But Kit doesn’t just tell his story, he relives it, cleverly, with the locker room as a device to explain the whole male-heavy environment that he now belongs to.

The show, successfully, looks at how masculinity is so prevalent in a locker room environment, and questions whether it is real or is it a facade? Alongside thirty-something Kit are three other actors who display their manliness (not literally), and masculinity; two jocks (Matthew Wells and Julian Spooner) and the fabulous singer/drag queen Daniel Jacob (also known as Vinegar Strokes). They help Kit to tell his story as well as perform in fantasy sequences that move the story along which helps the audience to better understand Kit’s journey. It’s a straightforward, and brave, telling of Kit’s transformation and the new world he lives in.

Testosterone plays at the New Diorama Theatre until the 3rd December 2016, 020 7338 9034

29th November 2016
THEATRE REVIEW | Jinkx Monsoon and Major Scales: Unwrapped

★★★★★ | Jinkx Monsoon and Major Scales: Unwrapped
CREDIT: Nate Watters
I have to confess that I had mixed emotions at the prospect of seeing Jinkx Monsoon (Seattle’s youngest M.I.L.F. and the victorious underdog from Season 5), and Major Scales at the Soho Theatre. Firstly, I’m a huge fanboy of Jinkx. Who doesn’t love a narcoleptic Jewish drag queen? Secondly, though, I don’t like Christmas and this is a Christmas show. When I say I don’t like Christmas I mean in a pathological, itchy toothed, nails scraping into my palms kind of way. Whilst Jinkx is my favourite queen of all time from RuPaul’s Drag Race the prospect of a Christmas-themed show in November made me feel vaguely psychotic and almost had me reaching for the brandy bottle.

I really needn’t have worried. Major Scales describes this as a show holiday show for those exhausted by the holidays. There’s not a trace of Mariah Carey and no fake bonhomie. Instead Major takes on the role of pro-Christmas advocate whilst Jinkx drily drawls about how rubbish it actually can be. Especially for an unconventional queer Jewish drag artiste.

They cover subjects such as what gifts to give to give to queer children, why singing a song about seducing a fat old man is just plain weird (Santa Baby) and how to spend time with your right wing Trump/Brexit loving relatives. There are some witty covers of Bowie, a Del Ray and Miley Cyrus as well as a clever reworking of a Kander and Ebb number. Predominantly, they sing their own compositions with Jinkx showcasing her fabulous singing voice. She not only looks good and has impeccable comic timing but she’s a cracking singer and can belt out a tune with panache. Her persona is waspish and bitchy but not in a terrifying way. There’s an underlying inner kitten that is hiding under the bitchy exterior. Whilst the show is slick and professional it still has a dark and anarchic edge to it that is endearing.

Major Scales is not only a great writing talent and ‘straight man’ to Jinkx’s distinctly kinked woman but is also a fine pianist and singer too. This is a duo that shouldn’t be missed. Whether you’re hiding in a bunker till January to avoid all the tawdry fuss or are already humming Christmas tunes under your breath and decking a tree with glittery things, this is an endearing and funny show. Get down to the Soho Theatre for an intimate experience with one of America’s hottest drag queens.

Run at the Soho Theatre until 10th December 2016

Follow Chris Bridges on Twitter

26th November 2016
THEATRE REVIEW | La Soiree

PR Supplied

★★★★ | La Soiree

The best show in Central London is now playing for a limited time only in Leicester Square – it’s La Soiree!

Back in London for a 7th time, La Soiree is a theatrical experience that will wow and shock you – it’s circus, vaudeville and burlesque all rolled up into one in a show that’s funny, mesmerising, and very enjoyable. In the especially-built venue that is the Spiegeltent right in the middle of Leicester Square, it’s a show in the round, in a velvet-draped salon of carved wood, polished mirrors and the feeling of having stepped into another world, and where every seat has a good view of the shenanigans the performers get up to. Grab a drink at the bar and have fun watching these amazing performers:

-Denis Lock is a bubble-making master. He makes bubbles in all sorts of shapes and sizes, including a carousel – he really needs to be seen to be seen!
-Songstress Acantha Lang, from New Orleans, sings intermittently throughout the show – her vocals are large and high octane! She’s a diva and she owns it!
-Captain Frodo is a hilarious comedian who is able to put his whole body through two small tennis racquets – it’s contortionism at it’s very best!
-The very naughty and funny Ursula Martinez – she finds hankies in the most unusual places – enough said!
-Daredevil Chicken is a man and woman duo who do incredible costume changes and are able to toss bits and pieces of bananas into theirs (and audience members) mouths. They are side-splittingly funny!
-Jarred Dewey likes to swing, on a swing (he’s a trapeze artist)! And he does it with very little clothes on.
-Hamish McCann, while shirtless, performs a jaw-dropping pole act that makes it look like he’s literally walking up a light pole. He makes it look easy.

For two hours you will be entertained, and your jaw will drop, not only at the amazing feats these performers accomplish, but also because it is all very hilarious and raucous.

So step away from the busy and blustery streets of London into this plush cabaret venue where you will have a really good time!

Christmas in Leicester Square run until 8th January 2017, 0207 492 9942

24th November 2016
THEATRE REVIEW | Tonight with Donny Stixx, The Bunker

★★★★ | Tonight with Donny Stixx, The Bunker

CREDIT: Savannah Photographic

Donny Stixx is a boy with problems. He’s the product of a troubled background but he’s putting all that behind him for one night of audience questions and answers as he jokes with the audience, winking cheekily and tells us all about his rise to fame and his magic act. Sadly, Donny isn’t as famous for his dated magic show as he is for other things and he’s not known as the most hated boy in England for nothing. His cheesy ‘end of the pier show’ facade soon drops and despite his rage at the questions about the shootings, he’s going to tell us all about it.

Multi award-winning playwright Philip Ridley is a master at capturing the darker side of the human condition and the story of Donny Stixx is a fine example of his work. Like its companion piece Dark Vanilla Jungle this is a one person show that features a troubled teenager. The script is witty and fast paced and almost dizzying as Donny bombards the audience with his repartee. There’s a cosy and domestic theme to his rambling that draws you in but soon falls apart as a much scarier and uncontained Donny breaks through.

Director David Mercatali has a fine pedigree of presenting Ridley’s works and this is no exception. Sean Michael Verey (Pramface) hits all the right notes as Donny. He manages to convey both an endearing vulnerability and a truly chilling rage as he interacts with an imaginary audience (don’t worry, there’s a fourth wall). It’s not hard to see why he won awards for this performance at The Edinburgh Fringe. The new space of The Bunker at Southwark is a fine home for a piece like this. It’s an intimate new 110 seat venue in an old underground car park (you may want to take a warm coat) next to The Menier Chocolate Factory (a short walk from London Bridge Station). The sparse staging helps to centre attention on Verey’s powerful performance.

Donny Stixx raises interesting issues about the nature of the lost and lonely teenager and how society can fail them. If you want an evening that’s funny but as far away from the saccharine highs of a West End musical as can be then this is a must see.

Tonight with Donny Stixx plays at The Bunker Theatre until 3rd December

Follow Chris Bridges on Twitter

21st November 2016
THEATRE REVIEW | The Boys In The Band – West Yorkshire Playhouse, Leeds

★★★★| Set in Brooklyn in the late 1960’s , nine gay men gather in an apartment to celebrate a friends birthday. Michael is an alcoholic shopaholic, Harold is a self-depreciating “Jew Fairy” (as he describes himself), Larry and Hank are a couple trying to make their differing views on monogamy fit together and Emory is as camp as they come. Throw into the mix a rather attractive, but dumb, cowboy hustler, a closeted testosterone filled ex-college roommate and copious amounts of booze and pot, and it’s not long before lives unravel, tempers fray and a cruel party game emerges.

Photo Credit – Darren Bell

This long overdue revival of Mart Crowley’s classic play is most welcome, and whilst it is no longer as shocking as it was in the late 1960’s, the relevance and impact still resonates today; as, sadly, do the undertones of self-loathing and internalised homophobia. The range of characteristics on show from the main protagonists may seem slightly cliché now, but still manage to reflect a number of the sub groups within the gay community and the issues facing them. The first act is a rather whimsical affair, as the characters arrive and you get to know them, but as the second act progresses, the narrative takes a darker turn, leading to a gripping dénouement.

The cast is strong all round, with solid performances from the ensemble, particularly Mark Gattis (Sherlock, Doctor Who) puts in an effortless performance as Harold, filled with subtlety and natural aloofness. Ian Hallard (Poirot, Doctors) holds the cast together as Michael, and James Holmes (Miranda, Psychoville) is delightful as Emory, brimming with campery and confidence. And whilst Jack Derges (Andy Flynn in EastEnders) is a vision of physical perfection, he proves he is much more than the token eye candy with an enjoyable performance as the dim witted (and mostly shirtless) cowboy hustler.

The set is authentic and beautifully detailed, as are the costumes, but even though the fashions and décor have altered, the issues raised have not; and whilst some of the social impact of the play may have lessened with time, the personal impact hasn’t, and the gay audience will recognise aspects of themselves, their peers and their experiences amongst the events of the evening.

With some sharp one liners, genuine emotion and some top notch performances; don’t miss your last chance to see this this excellent revival before it ends its run. The Boys in the Band is playing at West Yorkshire Playhouse, Leeds, until Saturday 19^th November 2016. See www.wyp.org.uk for details.

16th November 2016
THEATRE REVIEW | An Inspector Calls, The Playhouse Theatre

★★★★★ | An Inspector Calls, The Playhouse Theatre

CREDIT: Mark Mark Douet

J.B. Priestley’s 1940s play An Inspector Calls had languished somewhat until Stephen Daldry’s (The Crown, Billy Elliot, The Hours) landmark 1992 production.

The piece was much loved by amateur dramatic societies and small regional theatres, in part due to its seven-person cast and one room staging. Daldry’s revival, almost 25 years ago, at The National Theatre, gave the play a fresh lease of life with a radical new staging and a dramatic set design by Ian MacNeil. Now restaged again in London at The Playhouse Theatre, after long-running regional tours, this stylish and evocative revival is still feeling as fresh and pertinent as it did in the 90s.

In 1912 the wealthy upper middle-class Birling family are celebrating their daughter’s engagement to the son of a prominent family. The evening in their dining room in Bromley is interrupted by the arrival of Inspector Goole who tells them of the death of a young woman by a particularly gruesome suicide. The family are at first irked by the intrusion on their celebrations but gradually come to see that they each had a role in bringing about the woman’s downfall.

The stage is dominated by a giant dolls’ house raised high above the stage. This has to be one of the most breathtaking stagings of the last few decades. To describe the workings of the set would ruin the surprises but needless to say, it’s a clever design that enhances and doesn’t swamp the play’s message. Even though the smaller stage of The Playhouse feels a little cramped for the production, it’s still powerful and atmospheric. The cast are strong, and special mention must go to the excellent Barbara Marten as the monstrous Sybil. She imbues a touch of high camp without detracting from the horror of her snobbish coldness.

Can a revival of a play from seventy years ago, about a family from a hundred years ago still speak to today’s audiences? The answer is a resounding yes. The theme is self-interest, prejudice and how people use others weaker than them to get ahead. With recent world events and the scary rise of far right wing politicians, it couldn’t feel fresher. Or more chilling.

Follow Chris Bridges on Twitter

An Inspector Calls plays at The Playhouse Theatre

13th November 2016
THEATRE REVIEW | Pride and Prejudice, The Birmingham Rep

★★★★★ | Pride and Prejudice, The Birmingham Rep
CREDIT: Johan Persson
Masterfully personifies Austen’s work of art.

I remember reading Pride and Prejudice in my early teens, and recall falling in love with characters and the way they came to life on every page. Last night, Simon Reade’s stage adaptation delivered the feeling of nostalgia and I couldn’t help but fall in love again.

It is quite rare to see a cast where every character, minor or major, stand out equally, and contribute superbly to every scene they are in. This was true of Pride and Prejudice. I was blown away by the humour, the tension, and the vulnerability that every actor was able to portray throughout the production. Matthew Kelly did a sterling job as Mr Bennet, with his on-point comedic timing and powerful voice that rippled through the auditorium. The shining actor was Felicity Montagu who played Mrs Bennet, and what a sensation she was. Felicity was the true embodiment of the role and from minute one she had you in stitches. The dour portrayal of Mr Darcy by Benjamin Dilloway was accomplished and perfect for the character, showing Benjamin’s versatility, for his change of mood when he confesses his love to Elizabeth Bennet was more heartfelt and the audience were drawn in. There were some ‘awwws’ when he professed his true feelings to Elizabeth. Elizabeth Bennet, portrayed by Tafline Steen, was a whirlwind. Headstrong, charismatic, un-lady like, and the Elizabeth I envisioned when I first read the book. This was a typical feeling I had, as every role was expertly crafted to suit the novel, making it a magical experience for the Austen aficionados. Doña Croll’s Lady Catherine De Bourgh was a sensation and the epitome of the high class of the era. Her characterisation was composed, edgy and a little on the dangerous side.

The set, as well as the props and effects, transported the audience into the early 1800s where ‘things’ were seen of more value than people. Gossip and hearsay were a constant pleasure manifested in the society of the era, and Austen did a brilliant job capturing it. Simon Reade outdid himself by introducing to us the story we cannot help but go weak at the knees at every time.

I was so impressed by the energy and enthusiasm shown across the production that I want to see it again and again, and haven’t stopped recommending Pride and Prejudice to friends. Perhaps that is why there are scarcely any seats left!

Pride and Prejudice plays at the Birmingham Rep until 12th November

10th November 2016
THEATRE REVIEW | The HIV Monologues

★★★★★ | The HIV Monologues

CREDIT: Dionysis Livanis

From AIDS to PrEP: Love, Sex & HIV

If you met a moreish specimen of a man on Grindr, in Rupert St Bar or at a friend’s gatherette and there was immediate trouser-twitching, shimmies to the heart department and your thoughts turned towards naming your first pair French bulldogs – but then, after some time into this meet, said hottie informs you he’s HIV positive – do you know how you’d react?

Marking twenty years since life-saving HIV medication was introduced to the UK, Patrick Cash has penned a very real production that will send sparks to your neurons, pricking your nervous system: a trio of scenarios that are entwined together touching on the effects of HIV in the 80s up until the current day.

Alex (Denholm Spurr) – a Labrador puppy intermixed with a male cheerleader with obtuse understanding of the immune-attacking virus – struggles with the idea of being close to someone who’s positive, and barely has enough shrapnel to buy even the smallest tube of lube. The out-of-work actor gets himself into a sticky situation with the truth.

Lack of knowledge inflames fear, but understanding can provoke the guardian in all of us. Irene’s (Charly Flyte) journey nursing AIDS patients is moving and compelling. Barney (Jonathan Blake – one of the first people to have been diagnosed with AIDS in the UK) learns to live with the deficient insight with HIV in the 80s – a convincing performance.

A Thunder Looper of emotions: stigma, humour, shame and love – some well-directed tandem acting by Luke Davies – a challenging subject to cover – executed well.

Two new dates at the King’s Head Theatre as part of their World AIDS Day weekend 20th and 21st November.

8th November 2016
THEATRE REVIEW | Little Shop of Horrors – Sheffield Theatres and National Tour

★★★★| Life isn’t so great at the Mushnik Flower shop down on Skid Row. Mr Mushnik is on the verge of closing his shop, Audrey is dating a semi-sadist dentist and Seymour’s crush on Audrey is going nowhere. But with the arrival of a strange and interesting new plant, things start to change, especially when Seymour realises that the plant, Audrey II, has a taste for human blood. As things start to look up at the flower shop, Audrey II gets bigger and bigger, as does the list of missing people.
Photo Credit – Matt Martin Photography
Written by Howard Ashman and Alan Menken, the songwriting partnership behind some of the biggest Disney films, including The Little Mermaid and Beauty and the Beast, Little Shop of Horrors crams in the musical numbers, including “Somewhere That’s Green”, “Suddenly Seymour” and the title track “Little Shop of Horrors”. With a flavour of do-wop, funk and Motown running through it (even including a down on their luck version of The Supremes); and a bouncy and animated feel to the whole thing, this show is tremendous, kooky fun.

Sam Lupton excelled as Seymour, with a strong, natural vocal performance and a geeky clumsiness; as did Stephanie Clift as Audrey, bringing out the optimistic side of her character whilst maintain her vulnerability. The two leads gel together perfectly, especially with their show-stopping rendition of “Suddenly Seymour” and they are an absolute delight to watch. Romantic leads as good as these two are few and far between. Rounding off the main cast was Rhydian, who played the “slightly” manic dentist, Orin, with enough gusto to keep it his performance just on the right side of caricature, and with his strong operatic voice lending itself to his big number very well. However, the star of the show was Audrey II, the giant plant, who grows and grows and becomes more animated as the story progresses.

This touring production boasts a thoroughly detailed and well-designed set, with a cartoonish feel and an eye for detail. Add to that some clear, crisp and perfectly balanced audio, an effective lighting design and an all-round top notch cast and you have an impressive show which is highly polished.

Little Shop of Horrors has gained a cult following over the years and it is easy to see why. At the heart of it is a love story about a guy who will do anything to get the girl of his dreams. The songs are catchy and feel instantly familiar, the story is undemanding, and the script has plenty of moments to make you laugh.

With a healthy nod to 1950’s B-Movies and a musical mish-mash of styles with everything from Motown to Yiddish Folk Music thrown in there, Little Shop of Horrors is a cracking musical comedy which is pure escapist fun.

Little Shop of Horrors is currently on national tour and details can be found on their website at www.littleshopuktour.com. The show was reviewed at Sheffield Theatres, whose upcoming production of Everyone’s Talking About Jamie opens soon (https://www.sheffieldtheatres.co.uk/whats-on/everybodystalking-jamie)

8th November 2016
THEATRE REVIEW | Peter Pan Goes Wrong

★★★★ | Peter Pan Goes Wrong

If you’re a fan of farce, then this genius gem will slap you round the head, crack your ribs from laughter and leave you with a weaken bladder.

The Mischief Theatre Company are changing the face of comedy in the West End. They already have The Play That Goes Wrong and The Comedy About A Bank Robbery and now they’ve brought back their Christmas pudding, Peter Pan Goes Wrong. They’ve tapped into something that the West End has been missing for a long time. They’re giving us what we need. A laugh and lots of them.

In these politically trying times of neverending referendum headlines, a plummeting currency, a US Presidency election that makes even EastEnders look dull, and don’t even get us started with how Brexit is going to affect us in Eurovision, this theatre company is like a lit candle next to a flammable costume. On Fire.

The Cornley Polytechnic Drama Society are about to put on their Panto (oh no it’s not) and they’re nearly ready, but the audience has arrived for the first night and the show must go on, regardless if all the necessary health and safety checks have been made. The set has been improved for 2016, thanks to a cast buy in of £40,000 and they’ve splashed out on a revolving stage. All is set to be an incredible, critically acclaimed am-dram performance of the evergreen favourite of Peter Pan… Or is it?

The theatre’s electrics are on the blink, the sound recording cues are all wrong, the revolving stage has gone haywire, lines have not been learned, but that’s no barrier to this well-meaning band of merry actors. It’s hilarious.

Christmas has never been so funny. Even that time Dad tried to play charades in a full body cast.

This is exactly the pill the doctor ordered!

7th November 2016