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 | Mamma Mia! The Party, London

    THEATRE REVIEW | Mamma Mia! The Party, London

    ★★★★ | Mamma Mia! The Party, The 02

    ★★★★ | Mamma Mia! The Party, The 02

    Enter the world of ABBA, and Greece, by attending MAMMA MIA! THE PARTY at The O2 London – it’s the best in immersive theatre. And what a great idea!

    Yes, it’s the 02, but once you enter you are transported to a Greek-style courtyard (on the Greek island of Skopelos no less) where it will make you forget the horrific Jubilee Line ride that took you there.

    It’s a romantic courtyard that seats over 200 people with tables scattered on top of balconies, lower levels, stage level and the ground floor – surrounded by Greek-style leaves hanging down from the walls. And at the centrepiece of all this is the water fountain in the middle of the room. You have to see it to believe it – it literally stops you dead in your tracks when you enter the room where you automatically want to start snapping photos and selfies with you and your friends.

    But as it’s a party, there is food and drink involved, as well as great singing and dancing, performed by a cast that belongs in the West End! But it’s the East End – far from the West End, but never mind – for three hours you will forget this and suddenly Greek language will spew forth from your mouth.

    And the show that is performed right before your very eyes is the story of Nikos and his wife Kate who run this exotic and wonderful restaurant together with their family and friends. Told through dialogue and ABBA songs, it’s a warm, romantic and funny story which evolves and unfolds during the evening, taking place around the guests as they sit at their tables enjoying a delicious Greek meal. The evening ends with the main floor bring transformed into a 1970’s disco where audience members are welcome to stay and dance.

    On arrival, you’ll be greeted with a smile and a complimentary welcome cocktail, after which you are welcome to purchase drinks from the several taverna bars.

    The London cast includes Fed Zanni as Nikos, Steph Parry as Kate, Joanna Monro as Debbie, AJ Bentley as Adam, Julia Imbach as Konstantina, Elin König Andersson as Bella, Kimberly Powell as Nina, Pauline Stringer as Grandma, Gregor Stewart as Fernando, with Linda John-Pierre playing Debbie at certain performances and Allie Ho Chee playing Bella at certain performances.

    In between all this are yummy starters such a mezze selection followed by succulent meat dishes paired with tempting sides, and it all ends on a deliciously sweet note with authentic Greek desserts.

    Ticket prices start from £135 per person including VAT.

    This includes a welcome drink, a set four-course meal, a show and an ABBA disco at the end of the evening.

    There are different types of tickets to choose from: Premium, Band A, Band B, Band C (on some performances) and Band D. Premium and Band A ticket holders are seated at tables on the ground floor in the Courtyard and on the Terrace levels, and Band B and C ticket holders are seated at tables in the Terrace levels and Balcony. Band D seats, which offer a partially restricted view, are located in the Terrace levels.

    MAMMA MIA! THE PARTY has music and lyrics by Benny Andersson and Björn Ulvaeus (some songs with Stig Anderson), and a story by Calle Norlén, Roine Söderlundh and Björn Ulvaeus, adapted for the UK by writer, comedian and broadcaster Sandi Toksvig.

    However, there are three things that could be improved.
    1.) The queue. Arrive early as you will be waiting at least 30 minutes to get inside. Doors open at 18:30 (12:00 for daytime shows) but you definitely want to be seated sooner rather than later and before the food starts to arrive. Any later and you might miss the first course. Get there at 6 so you can be one of the first in, and then you can soak up the room before it fills up.
    2.) The heat inside the venue. We were very warm the whole night and didn’t feel any air. It could be cooler in the venue – perhaps they can create a nice beach breeze to make the too a bit more bearable and comfortable temperature-wise.
    3.) The food. We were a table of 4 and received the same portions of food as the single guy sitting at the next table (and he had the best seat in the house). If they can proportion the food according to the table size that would make much more sense.

    These quibbles are valid quibbles, but they won’t ruin your night. And while the show is not cheap (prices from £130 to £218) you will get your money’s worth, whether or not you like/love ABBA. ‘You are my Dancing Queen…..’.

  • THEATRE REVIEW | Big the Musical, London

    THEATRE REVIEW | Big the Musical, London

    ★★★★ | Big the Musical, Dominion  Theatre

    Big the movie was such a hit when it was released in 1988 as it brought out the inner child in all of us. Big the Musical, which just opened at London’s Dominion Theatre, doesn’t quite do the same.
     
    Playing for a short 9-week run, Big the Musical doesn’t bring the films magic to the stage, but it is, nonetheless, a show of pure fun where the audience is expected to believe there is an actual boy on stage in a man’s body who wants to be a boy again.
     
    The man, played by a charming Jay McGuiness (last seen in the awful Rip it Up). He wishes he was grown up so one day he encounters a Zoltar machine who grants him his wish, and he then finds himself trapped inside a man’s body. He is no longer recognised by his mom (Wendi Peters), nor by his next-door neighbour and best friend Billy.
     
    By sheer luck, and by being at the right place at the right time, he gets a job at a toy company where he has to act like an adult but still maintain his childlike innocence. He charms people at the office, including co-worker Susan (Kimberly Walsh) and his boss Mr McMillan (Matthew Kelly), where he is expected, along with the rest of the employees, to come up with a new Christmas toy. The Zoltar has given him 40 days to remain a man. Will that give him enough time to develop the toy and perhaps a grown-up relationship with Susan? Or does he long for his simple boyhood days?
     
    While there is not one memorable song in the show (not very good for a musical as big as Big), the actors all do their best and ultimately succeed.
     
    McGuiness is well-cast as Baskin (while several very good actors briefly play the young Josh and Billy), and Walsh is perfectly cast as the co-worker/love interest. With music by David Shire and lyrics by Richard Maltby, and a book by John Weidman and direction and choreography by Morgan Young, they all have a huge stage to fill at the Dominion Theatre, and they do.
     
    And the art and set directors successfully manage to fill it with carefully erected sets which include Josh and Billy’s homes (including Josh’s bedroom), the office, the carnival and a ballroom for the company party. But don’t expect to be humming any memorable tunes after it’s over. But you will have memories of a fun and good night out, but not necessarily a ‘big’ night out. 
     
    Big The Musical plays at the Dominion Theatre until 2nd November 2019. Book tickets here.
     
  • THEATRE REVIEW | Now And Then, London

    THEATRE REVIEW | Now And Then, London

    ★★★★ | Now & Then, Above the Stag Theatre

    Above the Stag’s current show has lots of great songs with very good performances and a plot that is so unique and different.

    Now & Then tells the story of a gay couple through three different times in their lives. And in order to do this, they need six different actors to play these six parts, and every one of them is wonderful in their own way.

    We get Daniel 1 and Greg 1 (Dylan Wynford and Freddie Woodyatt) are when the couple first meet, at a young and tender age – where both are smitten with each other. Then in middle age, we see Taylor Rettke and Rhys Taylor, while Richard Costello and Leo Andrew play them in their older age.

    Greg was always the sensible one, while Daniel was the dreamer – he’s a country and western singer (a very good one at that) who actually never really made it big.

    So, as the title reflects, it’s ‘Now & Then’ – time to reflect on the past and to accept the present. Of course, regrets linger as the couple gets older, and Daniel’s drinking problem nearly causes them to break up, but it’s their true love for each other that gets them to older age and still a couple. Without singling any of the actors out, kudos go to Costello as the older Daniel- he sings beautifully, and when he sings at the end with the song ’Solitary Man’ he is just as perfect as it gets.

    Go see Now & Then – not just for the unique storyline but also for the very good songs, all in harmony with each other, with the show, and the actors. It’s just beautiful.

    Book tickets to see Now & Then at Above The Stag

  • THEATRE REVIEW | Falsettos, London

    THEATRE REVIEW | Falsettos, London

    ★★★★| Falsettos


    A dysfunctional Jewish family is at the heart of the new show Falsettos.

    Now playing at The Other Place theatre near Victoria Station, Falsettos is a funny, toe-tapping, well-acted and sung musical set in NYC in the late 70s and early ’80s. But later in the show reality kicks in and the show takes a turn.

    The show opens with the hilarious song ‘Four Jews in a Room Bitching.’ The four Jews include Trina (a wonderful Laura Pitt-Pulford), and Marvin (a very good Daniel Boys), who were married with a young son Jason (various actors play the part but on the night I saw it it was a fantastic George Kennedy).

    However Marvin turned gay when he meets, and falls in love with, Whizzer (Oliver Savile), and they move in together, leaving Trina single. But the family is recommended to go see a shrink Mendel  – (Joel Montague) to accept their new circumstances. It all becomes very confusing for Jason, who spends most of his time alone in his bedroom with no friends to hang out with. Jason and Whizzer become very close and it’s Whizzer who tells Jason to see the shrink as well. Trina and Mendel soon fall in and all seems fine with everyone, but suddenly Marvin and Whizzer break up, and then Whizzer starts getting sick.

    As it’s the early 1980’s in NYC, it’s no surprise what disease Whizzer is struck with.

    The show then unexpectedly turns very dark, so unlike the first half which was hilarious and fun!

    When Falsettos first premiered on Broadway in 1992 theatre audiences (a lot of them gay men) were just getting over the multitude of deaths from the 1980’s AIDS crises, a chapter in LGBT history that is dark and grim. But through its storytelling via music (Pit-Pulford brings the house down with songs ‘Trina’s Song’ and ‘Holding to the Ground’), and a wicked sense of humour (the funniest moment is when the second half opens and Mendel points to an audience member and says ‘you are a homosexual.’)

    Falsettos will set the right notes for your theatre-going experience. The cast is all wonderful (give Pitt-Pulford an award pronto).

    This show, directed by Tara Overfield-Wilkinson, succeeds in it’s first showing in London in a venue where every seat is good, and with a very good cast.

  • THEATRE REVIEW | Rouge, London

    THEATRE REVIEW | Rouge, London

    ★★★ | Rouge

    The final headline act the 2019 Underbelly Festival Southbank is the Australian circus cabaret act Rouge. The award-winning group is in a long line of acts that have played at the famous Southbank venue, the most memorable of them Little Death Club – a naughty but nice cabaret act from Berlin that tore the house on fire. While Rouge doesn’t quite attain this level of scandal (and nudity), they give the audience what they want: jaw-dropping acrobatics, skin, and lots and lots of chairs.

    The cast includes the mind-bending Cyr wheel action and the phenomenal fire routines of Jessie Mckibbin, astonishing acrobatic feats from Lyndon Johnson, Liam DeJong and Madison Burleigh, aerial antics and more than a little cheek from dancer Paul Westbrook, plus the powerhouse operatic vocals of Issie Hart (who had laryngitis the night we were there).

    The sexy Westbrook is the emcee for the evening – all he really needs to do is just stand on stage and that would be enough! But he’s got a job to do – not just to emcee but also to perform in some of the acrobatics – and perform he does!

    Rouge is 60 minutes of twirling (the acts) and slurping (you – from drinks at the bar). And at the end of the show, you can meet the cast at the bar outside – what other show lets you do that? So go on and experience a naughty night – at the hands of Rouge!

    Rouge plays at Underbelly until Sunday 15 September 2019. Book tickets here 

     

  • THEATRE REVIEW | The Girl On The Train – Birmingham

    THEATRE REVIEW | The Girl On The Train – Birmingham

    ★★★ | The Girl On The Train – National Tour / Birmingham

    Based on the best selling book by Paula Hawkins, The Girl On The Train stars Samantha Womack (Eastenders) as Rachel Watson, a troubled woman who romanticises about a couple she sees from her commuter train window every day, as she imagines the life she could have had. When one of the couple goes missing, she finds herself drawn into the mystery; but the gaps in her memory and her inability to separate out reality from her fantasy leads to her becoming a suspect in the woman’s disappearance.

    Samantha Womack is entertaining as Rachel and she is ably supported by a small but proficient cast. The set changes are fairly slick, the set is sufficiently detailed, and the lighting and sound design all compliment the mood of the piece.

    But for a thriller to work, it’s the story that counts, and over the course of the first act, the plot developed nicely and pulled in the audience, with a narrative which blurred fact and fiction, and imagination and reality; but as the second act unfolded the story became increasingly convoluted with a few too many red herrings and clumsy plot twists for it to maintain its momentum.

    Having not read the book or seen the film, I’m not sure whether fans of either will find enjoyment or disappointment in this play, but as a standalone piece of theatre, it is competently presented and entertaining enough, but not a show which I would imagine will go on to become a classic.

    The Girl on the Train is at The Alexandra, Birmingham until the 31st August 2019. Book tickets now

    This review was taken from a showing at Sheffield and does not account for any cast changes or changes to the direction since then.*

  • THEATRE REVIEW | The Hunchback of Notre Dame, Iris Theatre

    THEATRE REVIEW | The Hunchback of Notre Dame, Iris Theatre

    ★★★★★ | The Hunchback of Notre Dame

    Covent Garden is now Paris in 1831. Well, it is for 150 minutes when St. Paul’s Church in the heart of Covent Garden plays, to great effect, Notre Dame cathedral in an excellent outdoor production of The Hunchback of Notre Dame.

    Victor Hugo’s classic tale of survival, injustice, and love is played out in the grounds of the church by the actors from Iris Theatre. They are an award-winning theatre company created in 2007 to produce site-specific work centred around it’s Covent Garden home, St. Paul’s Church.

    A priest and a hunchback both fall for the mysterious and beautiful Esmerelda who solely longs to find her long-lost mother. When the unhappy pair try to take matters into their own hands they set off a chain of events that no one can control.

    Revolution then sweeps over the city of Paris and the mob breaks against the walls of the cathedral. Will the hunchback find true love? Will the priest save his soul? And will it take the people of Paris to save Esmerelda?

    Benjamin Polya’s adaptation is superb as the scenes move around the church courtyard and then brilliantly the most dramatic scenes of the play take place inside the church, perfect timing as the outdoors gets a bit chilly and the darkeness and smoke in the church adds great dramatic effect to the finale of the play.

    This very affordable production is for the entire family.

    The Hunchback Of Notre plays at the Iris Theatre until 1st September 2019, www.iristheatre.com

  • Theatre Review | Evita, London

    Theatre Review | Evita, London

    ★★★★ | Evita, London

    One of the biggest, best and most well-known of shows has made another return to London.

    Evita, which has been around since 1978, tells the story of Eva Peron (a/k/a Evita) who was the wife of Argentine President Juan Peron from 1946 until her early death in 1952 at the very young age of 33. She has been immortalised in this show that was written by the duo Tim Rice and Andrew Lloyd Webber, with this being perhaps their most popular and famous collaboration.

    The songs in this show are epic. “You Must Love Me,” “Buenos Aires,” and of course “Don’t Cry for Me Argentina” – perhaps one of the most famous songs ever written for a piece of musical theatre, are all here. Madonna brought Eva to life in the 1996 film version which made Eva perhaps more popular than when she was alive.

    Now there is a new production in the gorgeous venue that is the Regents Open Air Theatre. In a set that can be called bare-bones (there is, unfortunately, no proper set, just a wide staircase that leads up to the orchestra), it allows the cast to sing and dance to their heart’s content.

    Samantha Pauly is tasked to play the lead role – it’s a role, if you remember, where Elaine Paige and Patti Lupone both nailed. Pauly doesn’t quite nail it – she doesn’t quite have the voice and vocal range of these two divas, but she admirably gives it her all.

    The character of Che, played superbly by Trent Saunders, is our narrator who guides us through the story, and sings superbly in the anthem “And The Money Kept Rolling In (And Out).”

    Che continues telling the story when Eva meets and falls in love with Juan Peron, and in the process literally kicking his current lover out of the Presidential Palace, her rise in popularity and then, unfortunately, her sudden illness which leads to her death.

    But this production doesn’t quite convey the magnitude spell Eva had, and it leaves out the balcony where she used to wave to her admirers. Also, some scenes don’t quite add up: when a little girl suddenly appears (in a ghastly getup) to beg for money and then walks off with a wad of cash, and when the cast, and Eva, perform in their underwear – these are scratch your head moments.

    But all of this aside, it’s a huge huge musical with amazing songs, great dancing by a cast who works hard to entertain you, and all performed in a beautiful setting.

    https://openairtheatre.com

  • Theatre Review | Avenue Q – National Tour

    Theatre Review | Avenue Q – National Tour

    ★★★★ | Avenue Q, National Tour

    Fresh out of college, looking for somewhere to live and clutching his useless degree, Princeton arrives on Avenue Q, where he meets affable (if lazy) Nicky, his closeted gay roommate, Rod, and Kate, a nursery teacher with big ambitions. The gang try and navigate the trials and tribulations of life, whilst discovering what the internet is really for, why taking a date to a strip club is a bad idea (especially on a school night) and why you should never throw a coin off the top of the Empire State Building.

    At one point in the story, Rod settles in to read his favourite book, Broadway Musicals of the 1940’s, and if you part the fur on this show a little, you will find that underneath it all, Avenue Q is very much a traditional musical at heart, with a will they/wont they love story, a sultry love rival and some ups and downs along the way. One of its particular strengths is in its beautifully crafted musical numbers, which flip between a good excuse for a laugh (The Internet is for Porn) and sweeping songs which progress the narrative (There’s a Fine, Fine Line).

    The script remains sharp and funny, with a rapid fire delivery of gags, and a story which nestles a number of social issues into the comedy without ever preaching. Rod struggles to come out of the closet, and his ode to his best friend (and secret crush) is filled with sadness. Princeton is a little lost in life, Kate feels that she is destined for bigger things and the perverted Trekkie Monster spends his day, shall we say, (ahem) socially isolated.

    With many of the cast playing multiple roles, Tom Steedon steals most of the laughs as Trekkie Monster and Nicky; whilst Cecily Redman belts out the musical numbers with a stirring voice; and the cast effortlessly bring the puppets to life, to the point where you find yourself more focussed on the puppets than the actors.

    If you have ever wondered what an adult version of Sesame Street might look like, then Avenue Q has the answer. The show remains laugh out loud funny, with some close to the knuckle humour which perfectly blends comedy with poignancy to leave you feeling warm and fuzzy inside.

    Avenue Q is at Sheffield Theatres until 3rd August 2019 before continuing on its national tour

  • Jean Paul Gaultier Fashion Freak Show: Part Folies Bergére, part cabaret, part Rocky Horror Picture Show, and all fashion, you’ll be mesmerised!

    Jean Paul Gaultier Fashion Freak Show: Part Folies Bergére, part cabaret, part Rocky Horror Picture Show, and all fashion, you’ll be mesmerised!

    ★★★★ | Jean Paul Gaultier Fashion Freak Show

    The life of Jean Paul Gaultier is told in very unique style at the Southbank in a show appropriately called Jean Paul Gaultier Fashion Freak Show. And what a show it is!

    Ever since JPG was a little boy he always had a thing for fashion. You see, his parents told him to be whatever he wanted to be – which helped him become the man he is today – one of the most well-known fashion designers of his generation. And JPG is the Créateur du spectacle et des costumes (Creator of the show and the costumes), Metteur en scéne (Director),and the Librettiste. Basically it’s his show, and it’s all about him, and of course his costumes!

    Part Folies Bergére, part cabaret, part Rocky Horror Picture Show, and all fashion, you’ll be mesmerized by what is taking place on the stage. It’s a full-on show that takes you through JPG’s life, which includes the soundtrack to his life, with songs like ‘Smalltown Boy,’ ‘I Want Your Love’ ‘Sex,’ ‘Relax,’ ‘Le Freak,’ ‘Respect Yourself,’ and the huge dance anthems ‘Work’ and of course ‘Vogue,’ where the young, virile, lithe performers give their voguing all on the stage. Also in the show is the story of JPG meeting his partner Francis while they were still students in the Paris suburbs. But it’s not JPG if it were not for the fashion, and fashion we get plenty of. Costumes in all shapes and colors, with nods to classic, simple, outrageous and of course fetish, and let’s not forget the cone bra that JPG famously made for Madonna – it’s all here in many cone dimensions.

    Jean Paul Gaultier Fashion Freak Show (an invitation, according to JPG, to dream and to make your dreams a reality) is a show that, while is slightly artificial and over the top (like the fashion world), is a helluva good time, and a good way to spend two hours.

    TICKETS
    From £30
    Box Office: 0203 879 9555
    Website: www.southbankcentre.co.uk

  • The View Upstairs Review: A show that is very uplifting and inspiring

    The View Upstairs Review: A show that is very uplifting and inspiring

    ★★★★★| The View Upstairs

    (C) Darren Bell

    If you plan to see any show this summer, make sure it is The View Upstairs.

    The View Upstairs is a musical that’s full of very talented actors and singers; it’s a show that is based on a very tragic event; and it’s a show that is very uplifting and inspiring.

    Max Vernon, who wrote the book, music and lyrics, has based this story on the Upstairs Lounge bar in New Orleans which was set fire in a catastrophic arson attack in 1973 where 32 men lost their lives in the raging inferno. It’s a true story that not many people know about, probably because at that time gays dying was just not big news. But from tragedy we get this great show – it’s a very simple story that has a big heart and an even bigger voice.

    Wes (Tyrne Huntley) wants to buy an old attic that’s a wreck, and once he signs the contract we go back in time, where he meets the people (ghosts?) there who are in the ‘Life’ (a name they call themselves). He doesn’t quite know it yet but he’s in 1973, and those people there have no idea about that device he has in his hand that he calls a cellphone. He is instantly smitten with Patrick (a very good Andy Mientus) and tells Patrick abut the most important evens over the last 45 years. The bar manager is sassy and wonderful Henri (Carly Mercedes Dyer – who has an amazing voice) while Willie (Cedric Neal) has wisdom beyond his years. Other barflies include Buddy (John Partridge – who has a wife and 2 kids), the troubled Dale (Declan Bennett), and Freddy (Garry Lee) who likes to dress up in drag, which his mom (Victoria Hamilton Barritt) is been  with.

    The View Upstairs takes us on a journey to get to knew each character (Willie was supposed to be a dancer, while Patrick and Dale are male prostitutes), through music and song. Tension builds when the local police don’t like it that Freddy is seen in the street in drag. But it’s not only in the storytelling but also the songs that make this show stand out – songs that soar like anthems that pay tribute to the men who died in the real fire. Mientus is in fine vice when he sings ‘What I did say’ while the whole cast brings down the house at the end in the theme song ‘The View Upstairs.’ And once the show is finished, you feel that you’ve just attended a gospel choir performance; you’ll feel uplifted, full of joy, a tinge of sadness, but also a feeling that you’ve experienced something very unique.

    https://sohotheatre.com/shows/the-view-upstairs/