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 | Apartment 40C

    ★★★★ | Apartment 40C

    Relationships are difficult things; from their tenuous beginnings through to their rocky patches, moments of pure joy and sometimes bitter dissolutions. Apartment 40c looks at the lifespan of a relationship of a New York couple by looking at their lives over the course of three pivotal evenings.

    Tom Lees and Ray Rackham’s clever new musical uses six actors to play the same two characters at different points in their lives. The characters often mingle on stage, unaware of the existence of their older or younger incarnations.

    Fresh-faced Alex Crossley and Alex James Ellison lend a romantic comedy element to the piece, playing the couple when they first meet in the apartment. Lizzie Wofford and the handsome hunk Drew Weston play the couple as they hit a difficult patch with brooding resentment, differences of opinion and betrayal threatening their once blissful intimacy. Nova Skipp (last seen in the incredible Damn Yankees at The Landor) and Peter Gerald play the couple in later life, returning to the apartment to arrange its sale.

    The story is well balanced with comedic moments, poignant numbers and rousing passionate songs. The music and lyrics are as good as you’d hear in any big West End musical (if not better, at times). Tom Lees and Ray Rackham’s show has a touch of Sondheim about it in places but ultimately has a unique and very distinct style of its own. The cast are spectacular with a standout performance from Lizzie Wofford who has the most amazing voice and is a breathtakingly accomplished actress. Drew Weston’s torso is worthy of a mention too. The sight of his six pack as he strode on stage in nothing but a towel led to a lot of shuffling and creaking of seats in the theatre.

    The set is well constructed and barring a few weak moments, this is an outstanding musical and a rare treat. Catch it while you can and I can almost guarantee that you’ll also catch some rising stars of theatre.

    Apartment 40C runs until the 20th of December at the London Theatre Workshop.

  • THEATRE REVIEW | Treasure Island, the Curse of the Pearl Necklace, Above The Stag

    Well it’s almost Christmas and the silly season has started, and what better way to spend a couple of silly hours than at the Above the Stag theatre in Vauxhall at their yearly pantomime Treasure Island and the Curse of the Pearl Necklace?

    Though this is the first of their pantos I have seen, over the six years since their first one in their old home in Victoria, they have played to sell-out audiences each year and it’s easy to see why. Definitely not the show for the family outing with mum, dad, grandma and the little ones, this is the show you creep out to enjoy with your mates.

    I’ll have to confess pantomime is not really my thing. I usually go out of my way to avoid it, but maybe if they were more like this one I’d go more often. The script by Jon Bradfield and Martin Hopper abounds in witty one-liners that come so fast and furious it’s almost impossible to keep up. They have retained most of the pantomime traditions that we have grown up with, and the audience catches on quickly, shouting out “behind you”, “oh yes you are” and joining in the community singing with gusto.

    Another of the panto traditions they have retained is the character of the dame, here in the guise of Jim Hawkins’s mother, Sally and Philip Lawrence gives quite the stand-out performance of the night. Whether it be delivering the naughty dialogue, joking with the audience or delivering the odd ad lib, he is the master (mistress?) of every situation, and frequently had us all in fits of laughter. Hugh O’Donnel as Ethel, the Merman (get it?), who acted as our narrator and guide, was equally hilarious, delivering all his lines with his tongue firmly lodged in one cheek. In a fairly large cast, though, absolutely no one let the side down.

    In the past I have been known to criticise Andrew Beckett’s direction (in The Gay Naked Play and You Should Be So Lucky) but here he is obviously in his element. My problem in the other plays was that too much of the action was played out front, encouraging the cast to mug too much to the audience, but that is exactly what is required of pantomime, and here it works splendidly. Aside from a section at the beginning of the second act, which flags slightly, the swift-moving action holds one’s attention throughout and moves seamlessly from one scene to another.

    One should also mention the superb set by David Shields and Daniel Johnson’s excellent musical direction.

    If, like me, you can be a bit allergic to the usual Christmas fare, then this irreverent, naughty, adult orientated gay romp is definitely for you.

    Treasure Island and the Curse of the Pearl Necklace plays until January 10 at Above the Stag and I’d advise you to book early, as it will no doubt sell out completely.

  • THEATRE REVIEW | White Christmas, West Yorkshire Playhouse, Leeds

    ★★★★★ | White Christmas, West Yorkshire Playhouse, Leeds

    Army pals turned song and dance men, Phil Davies and Bob Wallace, are on their way to Florida for Christmas, when they stop by at Jimmy’s Nightclub to audition Betty and Judy Haynes, a sister act, for their new show. For Phil and Judy, it is love at first sight, but for Bob and Betty, it is a frosty start. Phil secretly swaps their train tickets and the pair follow the sisters to Vermont, where they are booked to play at the hotel which is owned by Phil and Bob’s former Army General, and, which is on the brink of closing. Calling in favours from their showbiz contacts and their old army pals, Phil and Bob try to put on a show to save the hotel and make it a Christmas to remember, but, as Bob Wallace discovers, falling in love can be very distracting.

    Written by Irving Berlin, and containing a number of classic songs, including Love And The Weather, Love, You Didn’t Do Right By Me, Sisters, You’ve Got My Love To Keep Me Warm and, of course, White Christmas, this feel-good Christmas story is welcomed back to the stage in a simply brilliant production by West Yorkshire Playhouse.

    The production contained a well-rounded and consistently solid cast throughout, with the vocal performances across the board being of a very high quality. Melanie La Barrie belted out Let me Sing and I’m Happy, somehow seeming to channel the spirit of Ethel Merman into her performance. Darren Day was much better vocally than expected in his understated performance, but the standout cast member was Oliver Tompsett, whose charisma filled turn as Phil Davies showcased his ability to sing, dance, act and take on the comedy aspect of his role superbly.

    The set allowed the stage to open up into an abundance of space to undertake the well-choreographed and enthusiastically performed set pieces. There was a real tinge of 1950’s Americana in the costumes, certain aspects of the set, and the large set pieces; which were reminiscent of the old MGM Musicals. The on stage orchestra were spot on and the sound in the theatre was crisp, clear and well balanced between vocals and orchestra.

    If pushed to find fault with the production, the dancing in the set pieces could have been slightly tighter and the set did seem a touch sparse at times, but with a production that was so enjoyable, such quibbles seem slightly unfair.

    This is certainly one of the theatrical highlights of the year for me, and notwithstanding the twee nature of the show itself, you can’t beat a bit of good, old fashioned, family friendly and feel good entertainment at this time of the year.

    Irving Berlin’s White Christmas is currently playing at West Yorkshire Playhouse, Leeds until the 17th January 2015. For information, to book tickets or for details of their new season, visit their website at http://www.wyp.org.uk

  • THEATRE REVIEW | Accolade, St James Theatre

    ★★★★★ | Accolade, St James Theatre

    London, 1950: Private and public worlds collide when on New Year’s Day author Will Trenting’s knighthood attracts the glare of the British press. Happily married novelist, Will, has been leading a double life. Drawn to the seedier side of life, he’s been mixing with London’s ‘low-life’ and indulging in debauched sex parties and drunken debauchery. Will is forced to battle against the exposure of his secret life, its effect on his family and friends and the double standards of a society bent on destroying him.

    Rising star Director Blanche McIntyre (Best Director 2013, UK Theatre Awards) directs Emlyn Williams’ tale of sex, scandal and blackmail. As relevant now as when it first shocked audiences in 1950, this gripping thriller was awarded Time Out’s Best Off West End Production and three Off West End awards including Best Production when it was presented at the Finborough Theatre in 2011.

    Playwright Emlyn Williams was openly bisexual, balancing his marriage and family life with a series of flings. Coming out as bisexual ahead of most of his contemporaries, Williams’ play echoes his own private life. Surprisingly, the play passed the strict censorship rules of the early 1950s and still retains a freshness and salacious yet sympathetically drawn power to shock in 2014. This is a superior play and a worthy revival of a piece that was sadly neglected and mostly forgotten for many years. Shades of Coward and Rattigan exist but this play has a daring boldness that wasn’t always evident in works of the era.

    The staging and cast are pitch perfect with no weak links in the powerful nine-person line-up. The versatile set invokes the feel of the early 1950s and manages to echo the play as the walls slowly close in along with the world Trenting inhabits.

    I’d heartily recommend catching this rare gem at the St James Theatre.

    Accolade runs until the 13th of December 2014

    Buy tickets here: http://www.stjamestheatre.co.uk/theatre/accolade/

    by Chris Bridges

  • REVIEW | La Soiree, Southbank, London

    ★★★★★ | La Soiree, Southbank, London

    A Treat For Cabaret, Circus or Burlesque

    Roll up, roll up – the circus is back in town! Last seen in London in 2011, multi award-winning cult hit La Soirée returns to the capital celebrating a triumphant world tour and the 10-year anniversary of the troupe’s first show.

    The show is a heady mix of cabaret, circus and burlesque with enough quirky weirdness to please even the most twisted of people. Trapeze work, juggling, strip-tease and acrobatics feature along with music, comedy and some quite frankly hot men wearing very little at all. The world of cabaret can be a little tired but the well curated acts all put original and exciting spins on traditional art forms. Acrobatics are so much more fun when the performers are dressed as English gents and stripping off to the National Anthem, surely? What could be finer on a winter’s evening than a man dressed as a giant blue bunny squashing a balloon with his bottom or a depressed clown belting out songs? This is a very funny, lively and engaging show and well worth seeing. If you love cabaret, circus or burlesque then this is a definite treat. If you’re naïve to all of that then this is a good place to start sampling it.

    The Spiegeltent is the perfect venue with intimate ringside seats and a vintage feel that suits the proceedings well. There’s a range of seats with booths available and dining packages available if you’re feeling extravagant. Surrounding the venue are winter themed bars and stalls, a maze of fir trees and a lot of people in Christmas jumpers.

    The strictly limited Christmas season runs until the 11th of January 2015

    View the acts here: http://www.la-soiree.com

    Buy tickets here: http://www.southbankcentre.co.uk/whatson/la-soir%C3%A9e-87403?dt=2014-11-12

  • THEATRE REVIEW | Othello, Frantic Assembly, Birmingham REP

    ★★★★★ | Othello, Frantic Assembly, Birmingham REP

    Mesmerising, Otherworldly, Sublime

    Who would have thought that Shakespeare’s “Othello” could be placed in a ‘Chatsworth Estate’ like location, bursting with rawness but, at the same time, realness unlike any other. Frantic Assembly dissects the true essence of the play and transfuses it in to a contemporary setting. Extremely commendable work.

    “Othello” is my favourite play by William Shakespeare, but as underrated as it may be to many, it cannot hide the fervour of overcharged emotions that play from minute one. It tells the story of a Venetian moor who is the general of the armies in Venice that marries the daughter of a Venetian Senator, figure of which disapproves of the union. The theme of this play is jealousy, and Iago speaks of this as: “It is the green-eyed monster which doth mock The meat it feeds on.” Iago is jealous of many things, but in particular Michael Cassio’s promotion to Left Lieutenant by Othello, when Iago has been his long serving ‘slave’. Iago sets about on a mission to deem Desdemona ‘false’ and unworthy of Othello’s love. Iago proceeds in planting the seed of doubt in to Othello’s mind that Cassio and Desdemona are, essentially, at it. It all goes downhill from there, culminating in Othello killing his wife due to the paranoia.

    Some say there may be a sub-jealousy theme going on: Iago is jealous of Desdemona being married to Othello, when Iago envisions himself in her place. There is one sequence in Frantic, on the pool table, Iago is standing over Desdemona, and then the table rotates as Iago walks along it and his crotch level with Othello’s head. Read between the lines yourself.

    The ensemble of Frantic Assembly was subliminally phenomenal. Each actor played a key part to the show’s success. Every actor was strong in movement but eloquent in speech, which is a hard thing to do. Especially when, in one moment, one is being flung around a pool table and in the next reciting a speech in perfect iambic pentameter. Under the electric and elegant direction and choreography of Scott Graham and Steven Hoggett with Eddie Kay, “Othello” simmers into a beautiful crescendo of emotions and physical energy.

    The actor that stood out most ferociously was Steven Miller, who you might recognise as playing Lenny Lyons in Casualty, with his relentless energetic flair and passionate speaking, in verse. His monologues were heart-felt and sincerely understood.

    The set, for me, played a fundamental part in the atmosphere witnessed by the audience. The way the concertina flats moved effortlessly around the stage, and the way the pool table zoomed in and out, almost like a feather, was only short of genius. My favourite scene was when Cassio (Ryan Fletcher) is drunk and he portrays being drunk most convincingly, and the set aided to this with the ‘walls’ literally moving as Fletcher zig-zagged alongside it portraying the drunk effect we all know, very well, “the room is spinning”.

  • THEATRE REVIEW | DV8: JOHN, The Lyttleton Theatre

    ★★★★★ | DV8: JOHN, The Lyttleton Theatre

    Lloyd Newson’s DV8 Physical Theatre Company have been presenting innovative dance pieces for the best part of three decades and have won a plethora of awards. I wouldn’t be in the least bit surprised if their latest piece, John, now playing at the Lyttleton Theatre were to bring them a whole lot more.

    The programme note tells us that the piece we are seeing is not what Newson had originally planned, a work about assisted suicide. The emphasis changed when a close friend of Newson’s died unexpectedly, and he decided he needed to do a work about love and life rather than death. They interviewed several men for the project, but when John came into their office, it became clear that the new work would predominantly follow John’s story, and so the present piece was born.

    It starts as a monologue about John’s traumatic council estate childhood under the shadow of a violent, rapist father. Anna Fleischle’s ingenious, revolving set is put to brilliant use as characters move from one room to another. At first movement is fairly natural, but it becomes more stylised as the story evolves, though always as a response to speech. Rather than being set to music, in this case, the movement is a reflection of language and the words being spoken.

    Later the set doubles for the gay sauna where much of the second part of the piece is played out, perfect in its depiction of the endless cruising from sauna to steam room to restrooms. Much of the choreography is unbelievably complex. In the group scenes, you feel that if one member of the company were to misplace a foot or a hand, then the whole delicate balance would be destroyed. That never happens of course, and one of the joys of this production is seeing the way bodies fuse together, meld into one and then just as easily drift apart, something of a Newson trademark.

    Endlessly fascinating, but ultimately incredibly moving, it not only examines John’s reasons for having sex with men, but also unflinchingly examines why men may or may not take risks with their sexual health. Their stories are told without judgement, without prejudice.

    I won’t give anything away, but the ending with John caught once more alone on the stage was incredibly moving. It runs for one hour and twenty minutes without an interval, but time had gone so fast, it was hard to believe it was actually the end.

    A true collaboration, one should also mention the excellent lighting of Richard Godin and the sound design of Gareth Fry. Every single one of the performers should be commended for their commitment, for their skill, and for the beauty of the movement. So too should Lloyd Newson, who has yet again come up with a starkly original and thought-provoking piece of theatre.

    John is on now at the Lyttleton Theatre and almost half the tickets for each performance will be £15 as part of the Travelex Theatre Scheme

    On 9 December John will be broadcast live to over 550 UK cinemas and many more worldwide as part of National Theatre Live. Details at www.ntlive.com

    Runs until 13th January 2015

  • THEATRE REVIEW | STOMP – Sheffield Lyceum and National Tour

    ★★★★ | STOMP – Sheffield Lyceum and National Tour

    Mixing tap dancing, street dance, percussion, juggling, humour and incredible feats of physical performance, STOMP enters its 25th year with a show which utilises everything from paint pots to bin lids to create rhythmic set pieces which are dazzling, fresh, funny and exhilarating.

    Initially, one did wonder, having only seen the odd set piece from STOMP before on TV variety shows, how they would be able to fill a continuous one hour forty minute show without it becoming repetitive, but they were able to move from one set piece to the next seamlessly, always managing to add something new and different from what had come before. Using everything from brooms, sinks and dustbin lids through to shopping trollies, cigarette lighters and giant rubber rings, the variety of set pieces was more than enough to keep the show rattling through its running time, and the show arrived at its curtain call before you knew it and before you wanted it to.

    You couldn’t help but admire the sheer physicality of the performers, whose stamina throughout their relentless performance was undeniable. Their precision and sense of timing was impeccable, demonstrated nowhere better than in a routine involving a rapid flickering of cigarette lighters creating an effect which was reminiscent of a string of Christmas lights. The physical prowess of the performers impressed as they undertook what can only be described as a percussionist parkour; utilising and clambering over the set and props and leaving you in no doubt that they were giving it their all.

    With a static backdrop, covered in objects which transform into impromptu percussion instruments, the set was straight forward, but both the set and the performance were enhanced by some subtle but very intelligent lighting which also worked as a distraction tool, allowing the performers to disappear and reappear elsewhere, adding to the energy and vibrancy of the piece. The sounds of the beats, bangs and stomps, as the cast belted them out, were so loud that they resonated in the chest and added to the excitement of the performance.

    The show was also peppered with a lot of humour. A few looks, glances or exaggerated gestures exchanged between the cast members conveyed a simple narrative and each individual performer managed to develop an unassuming on-stage persona, which separated out the cast members from each other.

    The show was far better than expected and the combinations of skills on display were both impressive and enjoyable. STOMP is certainly deserving of their reputation after 25 years of tours and performances and the show has much more to it than you might expect.

    STOMP is at the Sheffield Lyceum Theatre until 8th November 2014 (http://www.sheffieldtheatres.co.uk/whats-on/ ) before continuing on its national tour. For details, visit http://www.stomp.co.uk/location/uk/

  • THEATRE REVIEW | MY PERFECT MIND, The Rep – Birmingham

    ★★★★★ | MY PERFECT MIND, The Rep – Birmingham
    Epically Humorous and Uncompromisingly Sincere

    Told by An Idiot’s “My Perfect Mind” stuns The Door of The Birmingham Rep, with its simplistic yet meaningful set and with its mastermind-like quality of acting. This astonishing play is an account of the actor Edward Petherbridge suffering from a stroke and his recovery, with help of a friend, Paul Hunter who does everything in his power to accommodate Edward’s imagination and fantasy.

    “My Perfect Mind” draws inspiration from the story of Edward Petherbridge’s second rehearsal of King Lear, where he suffered a severe stroke, which left him almost paralysed. Upon recovery, Edward comes to an enlightening discovery. Though his mobility had suffered from this event, all the lines for his part, King Lear, lived in his memory still.

    King Lear is one of Shakespeare’s most enigmatic and profound plays starting off with this 80 something King abdicating his land and rule by splitting it into three parts to give to his three daughters: Goneril, Regan and Cordelia. He asks of them, as an exchange for this gift, their expression of love to him. Goneril and Regan obey, but Cordelia upon being asked what she feels about her father, she merely says: “nothing”, which makes the old king banish her. Later on, in the play Lear loses his rule, goes insane and is banished. Shakespeare loved happy endings.

    The 90-minute play was filled with powerful energy and with a plethora of characters coming from one actor – Paul Hunter. Hunter had an incredible ability to multipart with astonishing speed, parts of which seemed to give Edward the Wonderland of Lear. Every time a new character emerged they asked Edward what he was doing? To which he always replied with “I am performing King Lear”, then Hunter, in character, acted impressed and amazed every time. Hunter blew the audience away with his gift of shape shifting between characters and with his unrivalled ability to seduce the crowd with laughter, particularly when he switched from David to Carol.

    Petherbridge’s story shone brightly on stage, as he played himself and the situation so vividly, it appeared we were witnessing the event real-time. His roaring delivery of speeches and then his sweet old-man like voice provided us with an emotional journey of discovery and recovery. We were left wishing we could hear Edward perform “King Lear” for real. The dramatic device Edward used with splashing paint over the wall was epic, as he belted Lear’s storms speech.

    One conclusion I can draw from this experience and it is somewhat ironic. King Lear goes through the play receding in his mental capacity and suffering bitterly, yet Edward used King Lear as a form of recovery. The fact that he still remembered the part, post-stroke, gave him a great sensation and by fate, he falls into the delightful direction of Kathryn Hunter and on the tour of “My Perfect Mind” depicting his story so magnificently.

    04 – 08 November 2014

  • THEATRE REVIEW | Rock Of Ages

    ★★★ | Rock Of Ages

    The Bourbon Room is the hottest club on the Sunset Strip, being the epitome of rock ‘n’ roll excess. Run by Dennis and Lonny, the club finds itself under threat from an over-eager property developer and so tries to raise money by staging a farewell gig by Arsenal, the biggest rock band around, fronted by the charismatic Stacee Jaxx. Meanwhile, bar tender Drew craves to be on stage and Sherrie, who is just a small-town girl, arrives in LA to chase her dreams. Drew and Sherrie fall in love, but neither quite say it, so when Stacee Jaxx comes between them and the club is about to be pulled down, can Rock ‘n’ Roll win through?

    This jukebox musical was crammed full with a truckload of guilty pleasure soft rock classics, including “We Built This City”, “Hit Me With Your Best Shot”, “Just Like Livin’ in Paradise”, “Here I Go Again”, “Wanted Dead or Alive” and “Don’t Stop Believin’”, with the musical numbers coming thick and fast, accompanied by the live band a scantily clad ensemble.

    Ben Richards, as Stacee Jaxx, was criminally underused, but spent most of his time making the audience swoon as he stripped to the waist and swaggered around the stage. Cameron Sharp stole many scenes as the camp German, Franz, and treated the audience by displaying his thighs which would make a pro-rugby player jealous. Noel Sullivan exceeded expectations as Drew and Cordelia Farnwoth was a versatile lead. But the energy and enthusiasm of Stephen Rahman-Hughes as Lonny, the comedic narrator, made him stand out from the remainder of the cast.

    The stage was busy and detailed, combining a static background, video projection and moveable props, all complimented by some well-designed lighting. The live band was good, and the balance between music and vocals were about right. The costumes reflected the stonewashed denim and excessive lace of the era, but the choreography and dancing could have been tighter than it was.

    Rock of Ages is energetic, bold, brash, loud and in your face – reflective of the rock movement at the time – and nestles neatly between being an affectionate tongue in cheek tribute to the times and a knowing, self –mocking piece of fun with an abundance of flesh on display and a playful feel to it. It amounts to a generally fun but throwaway piece of musical theatre which was lapped up by the crowd and the finale garnered whoops and cheers, bringing everyone to their feet and singing along.

    Rock of Ages is currently playing at Sheffield Lyceum Theatre until Saturday 1st November 2014, before rounding off its national tour. For more detail, visit the official website at: www.rockofagesmusical.co.uk/

  • THEATRE REVIEW | Spine, Soho Theatre

    From fast-rising Channel 4 Playwright Clara Brennan comes a hilarious, pan-generational call to arms for our modern age.

    Spine charts the explosive friendship between a ferocious, wisecracking teenager and an elderly East End widow. Mischievous activist pensioner Glenda is hell-bent on leaving a political legacy and saving Amy from the Tory scrapheap because ‘there’s nothing more terrifying than a teenager with something to say’.

    In this era of damaging coalition cuts and disillusionment, has politics forgotten people? Can we really take the power back? Amy is about to be forced to find out.
    There’s something about a well scripted and performed monologue that can be immensely powerful and intense and Brennan’s play manages to be both of these things whilst also being incredibly funny. Rosie Wyatt’s Amy is initially an unsympathetic character with an accent and pattern of speech like nails on a blackboard and a strutting, angry demeanour. The skill in both the script and the acting lies in making the viewer warm to and believe in the changes that take place in Amy, in spite of her bad points.

    The Soho Theatre is a great space for this play with the small space crammed with teetering piles of books. I laughed a lot and almost didn’t notice that the play was delivering a message about apathy in an age when we’re challenged and tricked into thinking that we should be grateful for what we have. And keep quiet. There’s a touch of the 1970s classic film Harold and Maud about the play: eccentric pensioner and off the rails teenager learn from each other.

    Kudos to Rosie Wyatt too for telling an audience member off for using her phone during the play, whilst remaining in character. She’s a woman after my own heart.

    Spine runs until: Tue 21 Oct – Sun 2 Nov, 7.15pm. Matinees: Sat 2.30pm, Sun 5.30pm
    Buy tickets here: http://www.sohotheatre.com/whats-on/spine