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 | Putting It Together, St. James Theatre

    ★★★★★ | Putting It Together, St. James Theatre

    The original New York production of “Putting It Together”, a musical revue created by Julia McKenzie and Stephen Sondheim, starred none other than Julie Andrews. This first London staging of the show is much like Ms Andrews’ famous character Mary Poppins: practically, perfect in every way.

    If you already love Sondheim then this is a rare treat, with a chance to see a whole host of his songs performed to a stunningly high standard. If you don’t know Sondheim’s work then this is a brilliant way to get to know his style and revel in his wit and panache.

    From lovelorn, embittered and angry, through to wistful, longing and hopeful, the song selection covers a huge range of emotions and facets of the terrifying and perplexing thing that is human relations. The cast selection is staggeringly good too. Listening to David Bedella’s voice is like sipping smooth Bourbon, whilst Janie Dee manages to pack pathos, rage and comedy into every word (and what a lot of words some of the numbers contain). Damian Humbley, Daniel Crossley and Caroline Sheen make up the rest of the strong five-person cast and all do more than justice to Sondheim’s numbers with amazing vocal talents, backed by a skilled sextet of musicians.

    The show cleverly utilises a diverse range of songs as the audience watch the progress of a couple as they undergo a tempestuous night at a cocktail party. The audience last night certainly loved the show and there was a standing ovation with rapturous applause.

    I can’t recommend this enough. It’s on for a strictly limited 3 week run until the 1st of February

    Buy tickets here: http://www.stjamestheatre.co.uk/events/putting-it-together/

  • THEATRE REVIEW | Moscow City Ballet presents The Nutcracker – Sheffield Lyceum & National Tour

    ★★★ | Moscow City Ballet presents The Nutcracker – Sheffield Lyceum & National Tour

    The Nutcracker tells the story of Clara, a young girl who is magically whisked away to a land of snow, flowers and fantasy, where she transforms into a princess and falls in love with the nutcracker prince. This classic ballet, with the score written by perhaps Russia’s most famous composer, Tchaikovsky, is lovingly performed by The Moscow City Ballet as part of their 25th Anniversary tour.

    The score to the piece by Tchaikovsky remains as bold and as enchanting as ever, and sounded beautiful performed by the note perfect live orchestra. A number of the pieces are instantly recognisable and will be familiar to most people, given how embedded they are in popular culture. The music remains powerful and emotive and enjoying and appreciating it was one of the highlights of the evening.

    As for the ballet itself, the first act focussed more on the narrative of the story, with Clara attending a Christmas Eve party where the guests are enthralled by her godfather’s magical, mechanical toys. During the first scene of Act 1, the full stage was awash with activity, which, whilst it looked impressive, sometimes led the audience to miss various things, as there was a lot happening simultaneously. Scene two, which finds Clara in a snow filled wonderland, was absolutely delightful with the female ensemble cast performing a stunning routine. Act 2 was more focussed on the dancing itself and it was during this act that the score and orchestra came into their own. The recognisable pieces of music came relentlessly and were accompanied by some charming routines – the highlight again being the female ensemble cast.

    Principal dancer Kanat Nadyrbeck performed well as the mysterious Drosselmeyer, but unfortunately, the ballet as a whole had far too many stumbles, heavy footfalls and overbalances than you would expect from such a prestigious company and the choreography seemed almost clunky at times. The gracefulness of the scenes with the female ensemble juxtaposed sharply with some of the other scenes and there were times when the synchronicity of the cast was not as well timed as it could have been. That said, the cast were enthusiastic and worked hard throughout the show, some of them displaying some spectacular leaps and bounds. There were also times when the principal dancers spent far too much time encouraging applause following a set piece, which interrupted the flow of the ballet and the story and seemed to give a stop/start feel to the second act.

    Proving itself to be a more traditional style of ballet, the show was still charming and engaging and as a whole was enjoyable, but, unfortunately, not without its flaws.

    As part of their 25th Anniversary tour, Moscow City Ballet is performing a quartet of traditional ballets in a variety of venues around the Country. The Nutcracker, Don Quixote, Romeo and Juliet and Swan Lake are all being performed.

    The Nutcracker continues at the Lyceum Theatre Sheffield until Saturday 11th January 2014 and tickets and details can be found at http://www.sheffieldtheatres.co.uk/event/the-nutcracker-14/ . The tour then continues around the country and details can be found at http://www.ents24.com/uk/tour-dates/moscow-city-ballet

  • THEATR REVIEW | Northern Ballet’s Cinderella – Leeds Grand Theatre

    ★★★ | Northern Ballet’s Cinderella

    In a magical retelling of Cinderella, the well-known story is transported to Imperial Russia, whereby following a shooting accident, Cinderella’s father dies and she falls victim to the wicked ways of her evil stepmother. But with Prince Charming looking for love, will Cinderella make it to the ball?

    Northern Ballet’s sumptuous production of this beautiful and original ballet is a festive treat and provides a fresh take on an established story. The story itself is familiar but there are a number of aspects which not only elevate this production but which also refreshes the classic fairy tale. The fairy godmother is replaced by a cunning magician, the coach is pulled by huskies and; with the transportation of the story to Russia, the ballet provided a number of scenes set outside the kitchen and the ballroom – including a graceful sequence set on a frozen lake, with the cast “ice skating” across the stage and a carnival scene allowing the stage to be awash with dancers performing a variety of magic and circus skills.

    The show was choreographed in beautiful fashion, with superb performances from the cast, all of whom were technically excellent in their dancing. Flashes of Russian dance inspired moves allowed the choreography to be relevant to the setting but never in a way which intruded on the traditional ballet. In terms of the cast, the highlight was Pippa Moore who gave a powerful and commanding performance as the wicked stepmother, portraying the character superbly, demanding the attention of the audience and coming across as icy and vindictive. The remaining cast had mastered a number of other skills, including stilt walking, juggling and acrobatic balancing for the carnival scene. The first act of the show was more narrative based, setting the scene for the second act, which was more focussed on the dancing, including a superb opening number in the ballroom and an elegant dance between Cinderella and the Prince.

    The original music was skilfully performed by the live orchestra, with the score ably portraying both the story and the emotions of the piece as it resonated around the opulent Leeds’ Grand Theatre. This production felt like not only a ballet, but also like a classical concert. As always the costumes were put together incredibly well and the whole production was filled with class. One of the strengths of Northern Ballet is their ability to convey the narrative of the story throughout the ballet which makes the whole thing accessible to all. Aside from the dancing, there are enough additional aspects to the show to hold the attention of those who are not necessarily the biggest fans of ballet.

    As a piece of theatre, this show was enchantingly staged and provided a delightful evening with a number of magical moments and an abundance of charm.

    Northern Ballet’s Cinderella is currently playing at Leeds Grand Theatre until the 4th January 2014. Tickets and more information can be found at http://northernballet.com/?q=cinderella

  • THEATRE REVIEW | Lady Rizo, At Soho Theatre, London

    ★★★★ | Lady Rizo, At Soho Theatre, London

    We are so lucky to live in London. The sheer range of entertainment this city offers is absolutely astonishing. On any given night, we are offered a bewildering array of choices, opera, ballet, theatre, whether it be mainstream or fringe.

    There really is something for everyone. It is surely the sheer richness of London’s cultural life that attracts artists from all over the world here. So it is that self-styled New York entertainer, dream maker, chanteuse and superstar Lady Rizo is visiting London to take up residency in the Soho Theatre’s intimate downstairs cabaret space until January 4th.

    Taking in a wide range of material, Lady Rizo lends her powerhouse vocals to such classics as Cole Porter’s “Love For Sale” and the seasonal “The Christmas Song”, as well as contributing some of her own songs from her own album “Violet”. With a nod to the festive season, she even puts her inimitable stamp on a bluesy rendition of Adolphe Adam’s “O Holy Night.”

    Elegant, but engagingly wacky, she jokes with the audience between songs, at one point stuffing most of her fist into her mouth as she peels off her gloves in a comedy strip routine, though, like Rita Hayworth’s Gilda, the gloves are all that come off. Mid-way through the show, she entices an audience member on stage and gets him to help her change her dress behind a back lit screen, whilst he tells her the story of how he lost his virginity. It’s that kind of show. We soon feel like old friends. By the end of it, she has the audience eating out of her hand, and singing along with The Bee Gees’ “To Love Somebody”.

    Big on personality, big on voice, this is one lady you shouldn’t miss, but get there early, or, even better, book, Tuesday’s performance was completely sold out.

    Lady Rizo is at the Soho Theatre Downstairs until January 4th 2014

  • THEATRE REVIEW | Blink, Soho Theatre

    ★★★★ | Blink, Soho Theatre

    Blink is the tale of Jonah and Sophie. It’s a love story, a very dysfunctional love story, but a love story all the same.

    The show was a sell-out hit at Soho Theatre and in Edinburgh in 2012 and sees a welcome return to this charming theatre on Dean Street.

    Harry McEntire and Rosie Wyatt give astounding performances as the two characters, both talking in short monologues, telling the audience the story of their unconventional romance. I won’t give any of the plot away but there are moments of gentle pathos mixed with quirky humour and dark reflections of modern life. The story is propelled forward by the intriguing storyline, which whilst bordering on the absurd, is made entirely real and believable by a fast paced and beautifully written script and strong line delivery from the two actors. The set is clever too, making use of a minimum of items to portray as variety of settings.

    Writer, Phil Porter, describes the piece as “A big, silly, serious, semi-ridiculous play.” He’s definitely mixed these elements well and this is a show well worth seeing

     

    Blink runs until 11/01/14 at The Soho Theatre

     

    Book tickets here: http://www.sohotheatre.com/whats-on/blink

     

  • THEATRE REVIEW | Ushers The Front Of House Musical, The Hope Theatre

    USHERS is a bright new musical from Kouban Productions with a book by JAMES ROTTGER. Centred around 5 ushers and their overbearing manager, there are enough in-jokes to please anyone who has ever worked front-of-house, but not so many that non-industry folk would be put off.

    It is opening night of a new jukebox musical, ‘Oops! I Did It Again’, based on the songs of Britney Spears and starring Marti Pellow as Kevin Federline and Michael Ball as Britney’s mum. Ben (LIAM ROSS –MILLS), Gary (WILL JENNINGS), Stephen (ROSS MCNEILL) and Rosie (CHLOE BROOKS), four long-standing ushers, are joined by Lucy (ABIGAIL CARTER-SIMPSON), a newcomer to their ranks and their “spend-per-head” obsessed supervisor, Robin (RALPH BOGARD).

    Two very different romantic relationships play out in front of us. Ben and Gary have been together for three years but now face a 12-month separation. By contrast, Lucy and Stephen have only just met and their encounters provide one of the several recurring jokes of the show, with dramatic lighting and intense music highlighting the instant attraction – a clever dig at the intensity and speed of on-stage relationships.

    YIANNIS KOUTSAKOS’ score is visioned and exciting, with catchy numbers and a particularly touching duet between Ben and Gary. Lively and exciting choreography from RUSSELL SMITH and GEMMA FULLER complements the score perfectly.

    The cast are energetic and engaging, and carry their roles with ease. Will Jennings is an excellent Gary, and the duet mentioned earlier shows off his voice beautifully. Chloe Brooks is a very talented comic actor with a classic musical theatre voice.

    Ross McNeill is an exceptionally strong and believable performer, as is Abigail Carter-Simpson. McNeill’s fine voice is showcased perfectly in his solo number, and Carter-Simpson’s has a beautiful quality that left me wanting more. As fairly recent graduates, they are both well worth watching out for in the future.

    Ralph Bogard plays the power-hungry supervisor, Robin, with conviction and he leaves us in no doubt that he can belt out, and hold, a tune. Unfortunately, his character has the one part of the production which really doesn’t work – his training sessions add little to the story, and the word definitions which follow are rather demeaning to an intelligent audience. Although tiresome, these interruptions are blissfully short, and we soon return to a plot which stands perfectly well without them.

    However, the stand-out performance of the night, for me, came from Liam Ross-Mills. His vocals had a slightly dodgy start on the evening I attended, but he soon found his voice and lifted it to something quite delightful. He performs with an intense vulnerability, stealing the show – difficult task amongst such a talented cast.

    Ushers is the first production in the brand-new Hope Theatre, a 50-seat performance space above the Hope and Anchor pub in Islington. Exclusively committed to showcasing new writing, the Hope Theatre opens with an Equity agreement already in place to ensure all performers and stage managers are paid an approved rate, something that disturbingly few small-scale fringe theatres have.

    Ushers is a great show performed exceptionally well with a lively and entertaining score, and should be a must-see for any musical theatre worker or fan this month.

    Ushers: the Front of House Musical plays at the Hope Theatre until 30 December. Tickets £15 from www.thehopetheatre.com

  • THEATRE REVIEW | Dick Comes Again

    ★★★ Once again, Leicester Square Theatre has provided an outrageously camp panto that hovers on just the right side of obscenity.

    Dick (Dave Bibby) and his trusty but drunk sidekick, Dave the Cat (Nick Read), agree to help Alice Fitznicely (Laura Hyde) sail the Leaky Vessel up Streaky Crack to find her family jewels and the key to her chas-titty belt. They are aided and hindered along the way by Sofonda Cox (Soho legend, The Very Miss Dusty ‘O’), Queen Runt (Paula Masterton) and Fairy Bell-End (Laura Curnick).

    With a few of last year’s jokes re-used, this production could, perhaps, have benefitted from some more original material, but it’s a small complaint. The old jokes are still relevant and the new ones manage to shock and delight in equal measure – there were a few audible gasps from the middle-aged ladies sat in front of me who shrieked and squealed throughout the evening.

    The innuendos come thick and fast in almost every line of Stuart Saint’s script with moments of genuine hilarity. Plenty of twerking and some superb performances from the very colourful cast further enhance the deliciously filthy pantomime atmosphere.

    The best laughs of the night, for this critic anyway, come from Dave the Cat, a drunk sexed-up version of Puss from Shrek (complete with dodgy Spanish accent). Nick Read performs his role brilliantly and shines through an already bright cast. Laura Hyde’s Alice is another particularly splendid performance, playing the role in the time-honoured over-the-top panto manner.

    Golden showers, S&M, Asian ladyboys and even a 14” dildo complete the ingredients for this fun Soho night out with plenty of suitably cringe-worthy audience participation.

    DICK! COMES AGAIN: BIGGER, LONGER, HARDER! plays at the Leicester Square Theatre until 19 January.

  • THEATRE REVIEW | The Shape of Things, Arcola Theatre London

    ★★★★★ | The Shape of Things, Arcola Theatre London

    I’m sure you all know the scenario: you meet a man who you feel needs a few little tweaks just to make him perfect.

    Maybe he needs a new hairstyle or better clothes, maybe a better physique or a more sparkling repartee. Perhaps he needs to lose a few of his less desirable friends. What if this was to become the main feature of your relationship, though? What if changing him was the impetus of your bond? Where do you draw the line?

    This 2001 play from Neil LaBute (In the Company of Men, Your Friends and Neighbours, Fat Pig) is well worth this refreshing revival and is as pertinent today as it was the day it was written. The rapier sharp and pacey dialogue makes for a gripping piece that is both hilariously funny and chilling in equal measures. The cast of four are particularly strong with outstanding performances that draw you in to the narrative and the cunning use of an initially minimalist set underlines the play’s themes. The intimate space of the Arcola Theatre lends itself well to this intense and witty black comedy.

    It’s definitely well worth travelling out to the funky Arcola theatre to catch this modern classic with killer performances from a particularly strong cast.

    The play runs until the 21st of December

    Buy tickets here: http://www.arcolatheatre.com/production/arcola/the-shape-of-things

  • THEATRE REVIEW | Boylexe, The Shadow Lounge, London

    ★★★ | Boylexe, The Shadow Lounge, London

    Last Friday, the Shadow Lounge in Soho, paid host to the boylesque show, Boylexe, which the company performed to a packed house of rowdy guys and gals, clearly in the mood for a fun night out. In the event, I’m not sure they got quite what they expected.

    According to one of its performers, Phil Ingud, Boylexe is “a great night out filled with cabaret, stripping and touching stories… and a LOT of flesh!” which I suppose describes it pretty well. When I asked him how the show would differ from strip shows like The Chippendales and Dreamboys, he talks about the art of burlesque being different, less sexual, more about teasing and titillating, with no full frontal nudity.

    So far, so good. Only I felt that none of the routines we saw at the Shadow Lounge on Friday night were titillating enough. Clothes were divested much too quickly and there was no real sense of teasing the audience with the possibility that they might catch a glimpse of someone’s naughty bits. Not that we need to see them, of course, but there should always be the prospect, the possibility. That is what titillating means.
    A mixture of stripping and monologues, the show didn’t seem to know quite where it was pitching itself. MC, Alp Haydar presides over proceedings with an energy and enthusiasm, which manages to be both naughty and disarming at the same time, and the audience really responded to him, but this in itself caused problems, meaning that when Phil Ingut delivered his monologue about HIV, it was greeted with a rather uncomfortable silence. Maybe that was the intention. If so, it wasn’t made clear enough. Other monologues were less memorable and the strip routines, such as they were, did at least come as a welcome relief.

    We got a whiff of the circus or music hall with the entertaining strong man routines by The Mighty Moustache (aka Sir Alexander Leopold), and there was a clever reverse strip by drag queen Mr Mistress, who defiantly takes to the stage naked and drags up before our eyes.

    The line-up is never quite the same from show to show, and this Friday (December 6th), they will be joined by Nick Stiletto, who, I am told, delivers routines that are cheeky and fun, with a deft use of props, which is certainly more in the true spirit of burlesque.

    As it is, it is a somewhat uneven evening. There is the potential for a great night out, but it needs to have a clearer idea of what it is trying to achieve. According to the strippers in Jule Styne’s “Gypsy”,

    You can sacrifice your saccro
    Working in the back row.
    Bump in a dump till you’re dead.
    Kid, you gotta have a gimmick
    If you wanna get ahead.

    Maybe it’s gimmicks that are lacking.

    Boylexe plays at the Shadow Lounge on Fridays throughout December.

  • THEATRE REVIEW | Julie Madly Deeply, Trafalgar Studios

    ★★★★ | Julie Madly Deeply, Trafalgar Studios

    Julie Madly Deeply is an affectionate look at the life of one of the most iconic stars of stage and screen, Dame Julie Andrews.

    Lifelong fan, Sarah-Louise Young, already a well-known name on the cabaret circuit, quips and quotes her way through the show she wrote with an eloquent ease, interspersing anecdotes with just some of the many songs Andrews is best known for from Thoroughly Modern Millie, Mary Poppins, The Sound of Music, My Fair Lady and The Boy Friend.

    Young infuses the show with her natural warmth and plenty of wit, and her devotion to Andrews is evident throughout. She speaks of her with passion and charm, using her perfect diction and clear singing voice to effectively mimic the star. Young’s versatility is evident as she effortlessly jumps between characters, including Audrey Hepburn and a deliciously slurring Liza Minnelli who pops up with familiar regularly.

    Musical Director Michael Roulston plays a perfect role, supporting and guiding Young throughout. His comedic flair and wonderfully expressive manner adds a great deal, and their chemistry is clearly visible.

    The staging is sparse, with just a chair, microphone and piano, but no more is needed. The focus is entirely held by Young and Roulston, and the characters they weave into this story (including a penguin that requires some help to leave the stage).Post-interval, one more prop arrives, in the form of a truly extraordinary Alpine landscape covered dirndl. Never before have I seen a movie so accurately embodied in costume.

    There is not a dull moment in either Act, and Young joyously wraps the evening up with what can only be described as a “Sing-along-a-Julie” finale, which has even the shyest audience member singing along to a medley that reminds us all just how many of Andrews’ songs are embedded deep within us.

    A thoroughly modern retrospective which is wholly deserving of a sell-out run, Julie Madly Deeply is a witty, charming and entirely fitting tribute to a true star. I have no doubt at all that, if Julie herself were to see the show, she would be deeply flattered.

    Julie Madly Deeply plays at Trafalgar Studios until 4 January, 2014. Tickets are £20-30 from http://www.atgtickets.com/shows/julie-madly-deeply/trafalgar-studios/ and well worth every penny.

  • THEATRE REVIEW | Joseph And The Amazing Technicolor Dreamcoat

    ★★★ | Joseph And The Amazing Technicolor Dreamcoat

    Andrew Lloyd Webber’s biblical musical continues its national tour with this colourful, energetic and enjoyable production of the enduring and well-loved family show.

    This sing-though musical tells the story of Joseph and his eleven brothers. Joseph is favoured by his father and is given a Technicolor coat, which causes his brothers to become so jealous of his favourable treatment that they take him into the desert to kill him. However, seizing an unexpected opportunity to make some money, the brothers sell him into slavery instead and Joseph is taken to Egypt where his ability to interpret dreams is put to good use by the Pharaoh. The two hour show is jam packed full of songs that you can’t help but know the words to, including “Any Dream Will Do”, “One More Angel In Heaven”, “Close Every Door” and “Jacob and Sons”.

    This quality production was much better than anticipated with the staging of the show being very well put together. There’s good use of the set and scenery with the stage constantly looking full, but never overcrowded. The universally talented cast all performed very well and sounded excellent together. The sound produced by the ensemble cast (especially the brothers) when singing together was superb and their varied voices fitted perfectly together. The casting for the show, in terms of vocal performances was spot on. In particular, Andrew Bateup (making his professional debut) stood out for his enthusiasm and vivacious performance and Rob Wilshaw provided a notable performance in the role of Joseph, handling the show’s best known numbers with aplomb.

    Visually, the show was vibrant, colourful and full of an enthusiastic and energetic cast and effective choreography. As expected, the costumes, set and lighting were all awash with a variety of colours, and the whole thing came across as a fun and lively production which was professionally put together. The lighting in particular was incredibly well done. In terms of the production and performance of the show, there was very little to criticise.

    The main issue with the show was despite the fact that the production was updated, modern and well put together, the songs themselves have not aged as well as some of Rice/Lloyd Webber’s other early productions (such as Evita). Whether this is a result of over familiarity or just the way in which musical theatre has evolved over the years, the play itself felt a little dated. That said, the show, thankfully, didn’t take itself too seriously, with a couple of knowing nods to the audience, which was a welcome addition.

    Overall, if you are looking of an evening of pleasant and undemanding entertainment, then this is a show worth seeing. The show delivers on many levels, particularly in terms of production, but also in terms of nostalgia (most people of a certain age will remember doing this show as their school play), in terms of good family entertainment and in terms of enjoyable, if fairly cheesy, fun.

    Joseph is currently playing at Sheffield Lyceum until Saturday 30th November 2013. For information and tickets, visit www.sheffieldtheatres.co.uk or visit the show’s official website at www.josephthemusical.com