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 | From Morning To Midnight

    ★★★ | From Morning To Midnight

    “For those who like that sort of thing, that is the sort of thing they like.” I felt rather like Miss Jean Brodie after seeing From Morning to Midnight at the Lyttleton Theatre last night. Evidently there were plenty around me who liked the play rather more than I did. Well, to be honest, I didn’t like it at all.

    Admittedly we were not seeing it under the best of circumstances. Adam Godley, who was playing the central character of the Clerk had been taken ill, and his role was taken by understudy Jack Tarlton. Under the circumstances, Tarlton did a sterling job, but nobody can deny the debilitating effect of having to go on with an understudy so early in the run, and before the production had had a chance to settle down. One applauds Tarlton’s achievement, whilst duly noting that the balance of the whole can’t help but have been upset.

    From Morning to Midnight is a German expressionist play, written in 1912 by Georg Kaiser, and initially banned for its portrayal of the Kaiser. The action unfolds over a single day, on which the clerk breaks with normality, absconds from the bank he works in with 60,000 marks and goes in search of something to make life worth living. The loosely linked scenes are given titles: Machine, Bourgeoisie, Epiphany, Family, Society, Sex and Salvation, but, unsurprisingly, his search is fruitless.

    This is the theatre of ideas. None of the characters have names and all, even the clerk himself, are no more than ciphers, representatives of types; an Italian lady, a bank manager a society gent, mother, wife, daughter etc. Even the clerk is not a fully developed character, more of a catalyst for the events that unfold.

    Production values, as so often at the National are consistently high, with ingenious sets by Soutra Gilmour. Director Melly Still has a firm grasp of her material, helped by some wonderful choreography from movement director Al Nedjari, but I remained uninterested and uninvolved. No doubt others will enjoy it more than I did.

    From Morning To Midnight plays at the Lyttleton Theatre until January 26th 2014

    http://www.nationaltheatre.org.uk

  • THEATRE REVIEW | Slava’s Snowshow

    Slava’s Snowshow is set in a winter landscape and combines beautiful comic performances from a host of clowns each with their own individual personalities, with a dazzling assault on the senses, immersing the audience in a winter wonderland of wide eyed wonder.

    Slava’s Snowshow is a visually tantalising and immersive experience that is a world away from the big top clowning that we are so used to. Thankfully there were no buckets of glitter or a small car with the doors falling off anywhere in sight. This was much more intelligent humour that appeals to both adults and children and pleasingly rejects the slapstick tomfoolery that is so often seen performed by circus clowns.

    The show itself has no dialogue and no narrative, but is more a collection of set pieces, which overlap each other like a flow of consciousness or a surreal dream. The humour is subtle and gentle, but very funny, with the cast evoking laughter from the audience with nothing more than a facial expression, a subtle gesture or either a tiny or exaggerated movement. The whole show has an almost childlike innocence to it, which seemed to successfully regress the majority of the audience back to their childhood.

    The style of the piece was very reminiscent of the silent comedies of the 30’s and 40’s, and the performances by the cast were remarkable. Just by the raising of an eyebrow or by the widening of their smile, they were able to convey a variety of emotions to the audience and garner genuine empathy and warmth towards the characters. This is simple, non-offensive and innocent humour that is family friendly and based on a purely physical performance, coupled with perfect and precise comic timing.

    The set itself was very basic, but the use of smoke, lighting and various other techniques, including bubbles, paper snow and a simply stunning soundtrack, brought the whole thing to life in a beautiful and sometimes dramatic fashion. The audience were literally drawn into the show as the on stage performances extended out into the theatre itself, with everything from covering the audience in a huge spider’s web, walking over the top of the seats throughout the stalls and having snow fall from the roof, it ensured that those watching were very much a part of the show. You can’t help but find yourself sitting and wondering what will happen next. The ending of the show is not one that will be spoilt in this review, but it builds to a spectacular close that quite literally takes your breath away.

    Slava’s Snowshow is not a piece of theatre that is easy to categorise. You could define it as a clown’s equivalent to Cirque Du Soleil. You could class it as a piece of performance art, or as the embodiment of a well-crafted and traditional theatrical art form with a modern spin. It is not for everyone, and would no doubt be a very divisive piece of theatre. You are likely to either, really buy into it and love it, or you will not really connect with it and it will not be your thing. But, if you are looking for something that’s more of an experience than a show, or you simply want a change from the usual musicals or plays, then this would be ideal. Just allow yourself to be carried away in the piece and enjoy it.

    To get the best out of this show, book seats in the front half of the stalls and ensure that you stay around for the interval, as just because the show stops for a break, the clowning around in the theatre doesn’t!

    Slava’s Snowshow is currently at the Sheffield Lyceum until Sunday 24th November 2013 here
    before continuing on its national tour and heading for London. Details can be found on the show’s official website here.

  • THEATRE REVIEW | Passing By, Tristan Bates Theatre

    ★★★ | Passing By, Tristan Bates Theatre

    ‘Passing By’ is an early work from award winning playwright Martin Sherman (Bent, Mrs Henderson Presents) that was first produced in New York in 1974. In terms of theatrical history, this play was hugely significant.

    Rather than being a play about homosexuality itself, where gay people were portrayed only as being tortured and struggling with life, this play is a romantic comedy where the characters just happen to be gay men. This was ground breaking stuff for the era it was written in.

    Toby (Rik Makarem) is a hypochondriac artist about to leave New York for a sabbatical in France and Simon (James Cartwright) is a diver, visiting New York to apply for a job as a sports reporter. The pair meet up, sleep together and then experience a bout of acute hepatitis which brings them together in spite of their differences in temperament.

    It’s a sweet play and is touching in parts but for me, the humour felt a little dated at times with a sit-com feel to it and some of the comedic moments seemed to fall slightly flat with the audience. The staging was superb with a clever set which captured the early 1970’s period well and made good use of the intimate space of the Tristan Bates Theatre but at times the acting felt almost too exaggerated for such a small space with slap-stick humour which again failed to fully deliver.

    Overall, I’d say this is a play which is worth seeing as a diversionary period piece and as an example of an early work from a fantastic pioneering playwright who has contributed a huge amount to modern theatre.

    You can catch ‘Passing By’ at the Tristan Bates Theatre until the 30th of November 2013

    Buy tickets here: http://www.tristanbatestheatre.co.uk/passing_by.asp

  • THEATRE REVIEW | A Christmas Carol – Sheffield Lyceum and National Tour

    ★★★★ | A Christmas Carol – Sheffield Lyceum and National Tour

    Charles Dickens’ much loved Christmas tale is stunningly brought to life in this magical, colourful and beautifully performed ballet from the Northern Ballet Company.

    Ebenezer Scrooge is the meanest, grumpiest man in London, who is obsessed by money and greed, shows no love for his fellow man and has no Christmas spirit. One Christmas Eve, he is visited by the ghost of his late business partner, Jacob Marley, and subsequently by the ghosts of Christmas past, future and present. Scrooge is shown how his meanness lost him his true love in the past, how his miserly ways impact on those around him in the present and how he will not be missed in the future. But can the ghostly apparitions show Scrooge it’s never too late to mend his ways?

    This festive treat was a feast for the eyes and ears. A live orchestra played beautifully throughout the three act ballet and filled the theatre with the sounds of Christmas. The set lovingly recreated Victorian London and, despite its detail was well utilised and versatile throughout the show. The company added an unexpected twist to the proceedings with a few traditional carols sung by the company on stage, with their voices carrying an uplifting and almost angelic feel.

    The costumes were simply stunning with everything from Victorian dress coats and bonnets to beautiful dresses. The whole presentation oozed class and charm. But the costumes which particularly excelled were those of The Ghosts of Christmas. The Ghost of Christmas Future in particular was amazing, with the spirit gliding across the stage in a sinister mixture of floating fabrics and exposed skeletal bones.

    The staging of the production was of a very high quality, with not only the stage being well decorated and presented, but also being lit incredibly well, with a myriad of theatrical techniques which combined to present and atmospheric and versatile stage. Ghosts floated effortlessly in the darkness and a host of spectres filled the foggy stage. Visually, the piece was impressively put together.

    The choreography of the piece was very well done and told the (albeit well known) story incredibly well making it accessible to even a ballet novice. During the course of the show, the dancing went from set pieces awash with dancers to solo and duet pieces. When dancing together, the company were well timed and graceful and at times there was so much going off on stage that it was sometimes difficult to know where to look as you simply didn’t want to miss anything of interest. The dancers ably conveyed the emotions of the characters amongst their agile performances. The very large cast were all of a very high standard and singling any of them out would be a very difficult task, but Sebastian Loe who played Scrooge put in a flawless performance, pouring emotion into his role and effortlessly conveying the progression of the character.

    Having seen this production, there is little wonder why, when it comes to quality, Northern Ballet maintain the reputation that they have. The production was one which was very accessible and was a light and breezy ballet littered with subtle humour. If you have never seen a ballet before, this is an excellent starting point. The festive feel of the piece, especially at the end of the show was overwhelming and you could not help but get swept up in the festive spirit and the joyful feeling of the characters on stage. The show is a perfect way to start getting into the Christmas spirit or a great post gift shopping treat which leaves you feeling warm inside.

    A Christmas Carol is currently showing at the Sheffield Lyceum Theatre before continuing on its national Tour.
    Bookings and information can be found at http://www.sheffieldtheatres.co.uk/event/a-christmas-carol-13/?tab=1#unit-production-dates and at http://northernballet.com/index.php?q=a-christmas-carol

  • THEATRE REVIEW | Love Your Soldiers, Crucible Theatre Studio, Sheffield

    ★★★★ | Love Your Soldiers

    In Helmand Province, two young soldiers have bonded like brothers in the midst of war, but when one of them is seriously injured, their relationship is tested even further when he is returned home and continues his affair with his best friend’s girlfriend.

    Ken is a soldier and is a fun loving guy who takes his girlfriend for granted. When his best friend, Roly, covers Ken’s patrol, he steps on a landmine, and loses both of his legs. Roly is returned to a rehabilitation centre in England. But unbeknown to Ken, his girlfriend, Gemma, and Roly have been having an affair and she is torn between the two of them. When Gemma announces that she is pregnant, she remains ambiguous about the father of the child and matters come to a head when Ken returns home on leave to both spend time with the woman he loves and to confront his guilt for allowing Roly to take his place on the patrol which led to his injuries.

    Love, betrayal, friendship, honesty and revenge are the themes of this touching, poignant and well produced and directed play. The first thing that strikes you as you enter the theatre is the set which envelopes the seating area and places the audience in the middle of the set itself. The production uses a number of interesting and well utilised video and audio effects, using giant screens and projectors to replicate the webcam exchanges of the central characters (which are acted out live on stage) and as background settings to the various scenes and locations. The use of smoke, lighting and loud exchanges of gunfire and explosions proved an assault on the senses, particularly in the battle scenes, invoking a genuine tension in the audience. There is very little to fault this play on in terms of its staging and direction and the director, Richard Wilson, has to be commended for such an excellent job.

    The story is one which is well written and is tender and touching, exploring the relationships between the soldiers, those left “at home” and those around them on the front line. There is some discussion around homosexuality and homophobia, although this is not the central theme of the play, instead, it focusses more on the impact of the situation of the three central characters on each other and on those around them.

    In a small cast, Chris Leask gave the standout performance as Ken and Jordan Bright as Roly performed well in his first professional role; with the rest of the cast giving competent support. But where the play comes into its on is in the story and the drawing in of the audience. The feeling you get when watching the play falls into two distinct categories. The scenes set in Afghanistan makes you feel, at times, like you are in the middle of an action film. The scenes set in England make you feel like you are in the middle of a high quality BBC drama. This was a thought provoking play and one which, with Remembrance Day approaching, is a timely reminder of the sacrifices made by those in the armed forces and their family and friends and is certainly one where the circumstances, themes and issues in the story stay with you long after the performance.

    Love Your Soldiers is currently showing at the Crucible Theatre and runs until the 23rd November 2013. For further information and to book tickets, visit

  • THEATRE REVIEW | WTF! With Helen Lederer

    THEATRE REVIEW | WTF! With Helen Lederer

    We must point out that Helen Lederer is amazing. There you go. End of review.

    We’re sitting in the packed out studio theatre in Victoria, London, when the, zesty, energetic, self-effacing Lederer walks out to rapturous applause, looking amazing we must add.

    Her new show WTF! is a hilarious – part stand-up part chat show, where she delves into the nooks and crannies of celebrity’s lives.

    Sitting with Lederer this evening in the first half is the gorgeous Kimberley Walsh, 1/5 of the super girl group Girls Aloud, who is probed and prodded, by a genuinely interested Lederer, who has clearly done her research. Walsh quips, ‘Gosh you’ve really read the book, I’ve never had an interview this good…’

    In the second half she is joined by columnist heavyweights Yasmin Alibhai Brown and Suzanne Moore. Who equally shine in their roles as interviewees, particularly Alibhai-Brown who throws herself into Lederer’s wonderful format.

    If you’re looking for a Paxman or Frost type interrogation, you’re probably in the wrong theatre, but if you’re looking for a relaxed, irreverent, very Channel 4 and slightly odd cross examination and dissemination of a celeb then WTF! Is the show for you.

    Helen Lederer returns to the studio theatre at St. James’s Theatre in Victoria on the 28th November.

  • THEATRE REVIEW | Priscilla Queen Of The Desert, Sheffield Lyceum and National Tour

    Three drag queens “unplug their curling wands and go bush” to travel across the outback en route to a show in a casino in Alice Springs. Along the way, they bitch, bicker and laugh their way across the dessert, and continuously ensure that they are looking their best whilst “dressing up in women’s clothing and mouthing the words to other people’s songs”.

    Tick (Noel Sullivan), Bernadette (Richard Grieve) and Adam (Graham Weaver) buy a budget Barbie camper; christen it Priscilla and head into the outback to perform a show at a casino run by Tick’s wife in Alice Springs. Stopping off along the way, the trio make friends, get themselves into trouble, fall in love, strengthen their friendship and following the bus breaking down, pick up mechanic Bill who leaves his wife (who has an extraordinary talent which she shows off in the local pub) as they head to the middle of nowhere for the show of their life.

    Based on the film of the same name, this stage musical was excellent fun. Following the story of the film fairly closely (albeit it with some minor changes) it was a show which is unashamedly flamboyant. The show uses a combination of camp disco classics, opening with “It’s Raining Men” and including “I Will Survive”, “I Love the Nightlife”, “Go West” and “Finally”, which meant that the whole audience were clapping, cheering and laughing from the moment the curtain went up.

    In terms of the cast, Noel Sullivan (who is perhaps best known for being a member of “Hear’say”) was functional as Tick, but played the part with a little bit too much camp, watering down the interplay between the straight laced Tick and outrageous Adam. Richard Grieve was much better than expected as Bernadette. But Graham Weaver stood out with an enjoyable performance as Adam/Felicia. The supporting cast were, as you would expect, ludicrously attractive and beautifully toned and threw themselves into the musical numbers with energy and gusto.

    The whole thing was colourful, exuberant and thoroughly entertaining with a cleverly designed set (with the bus on stage) and a sharp, funny script with all of the characters that you know and love from the film. But where the show really came into its own was in the musical numbers, taking some from the film and some new ones introduced for the show, the routines were over the top, bold, brassy and ballsy, with costumes to match. The enthusiasm of the cast was clear and it was abundantly obvious that they were enjoying themselves as much as the audience.

    The costumes in themselves are worthy of a mention. Some were recreated from the film (flip flop dress, anyone?) and the others just added to the campness of the proceedings. Everything from dancing paintbrushes to dancing birthday cakes, hicks, lizards, Marie Antoinette’s, Ostriches and scantily clad, leather wearing dancers were all on stage in a dazzling spectacular.

    The only downside of this production was that the music was a little loud over the vocals on the odd occasion, but these are very minor quibbles when the show was as much fun as it was.

    The show is one which is perhaps best seen on a Friday or Saturday evening. Its two hour running time quite literally flew by with the whole thing never really slows down. Overall, this was a really great, fun show and a piece of feel-good, uplifting and ultimately heart-warming theatre which has its tongue firmly lodged in its cheek. It’s a real feast for the eyes, the ears, the heart, the soul and the funny bone.

    Priscilla Queen of the Desert is currently at Sheffield Lyceum theatre

  • FILM REVIEW | Merrily We Roll Along

    ★★★★★ | Merrily We Roll Along

    The concept of seeing a play on the big screen can seem a bit odd. Do you clap at the end? Will it be like watching a play or seeing a film? Will there be any atmosphere?

    You can rest assured that seeing The Menier Chocolate Factory production of ‘Merrily We Roll Along’ will be worth every penny spent and there’ll definitely be applause, even if the cast won’t be there to hear it.

    A specially recorded version of the multi award winning West End production at The Harold Pinter Theatre was recorded earlier this year and has been edited to perfection. The show is screening in over 300 UK cinemas starting from the 24th of October. It’s part of the amazing digital theatre range of shows and the first to be screened in cinemas, with the brilliant ‘Private Lives’ to follow next year and a range of shows that can be watched at home.

    It couldn’t have a better pedigree: written by the fantastic Stephen Sondheim, the work of an acclaimed director, a fantastic cast and more 5 star reviews than any other musical in West End history. There’s not a weak link in the cast and the choreography, music and sets are truly amazing. Even Sondheim himself stated that this production is the best he’s seen.

    The story follows a group of three friends (a composer, lyricist and novelist) as they start out seeking success, find success, fall out, make out, form and break relationships and generally break down. The twist of the story is that the whole of the plot is told backwards. Starting in the 1970s we two of the three friends and instantly learn what fates have befallen them. As the play progresses we gradually work back to the late 1950s and see how it all began and where the roots of their current situations began. The device works brilliantly and it’s both poignant and hilarious in equal measures.

    Watch the trailer and find your nearest screening here: http://www.digitaltheatre.com/screenings
    Find out more about Digital Theatre here and which productions are available to watch:
    http://www.digitaltheatre.com

  • THEATRE REVIEW | Roots

    ★★★★ |Roots by Arnold Wesker, Donmar Warehouse

    It’s 1958 and Beatie Bryant has been living in London with Ronnie, a young socialist full of ideas and ideals. As she anxiously awaits his arrival to meet her family for the first time at their Norfolk farm, her head is swimming with new concepts of a bolder, freer world enhanced by politics, art and music, not caring that her views promise to clash with their traditional rural way of life.

    Roots is the centrepiece of Arnold Wesker’s classic post-war trilogy of plays and in spite of being over 50 years since its first staging, still carries a strong and pertinent message today in a world where apathy and mediocrity still abound.

    The play is naturalistic and heavy on dialogue but the inherent humour of the situation and characters lightens the tone enough to make it a thoroughly enjoyable piece to watch. The characters interact as they perform a background of daily chores such as cooking, cleaning and bathing, all punctuated by their exchanges which are spoken in broad Norfolk accents and dialect.

    Beatie is played by the beautiful and very talented Jessica Raine (Call the Midwife) who manages to convey her naivety, exuberance and vulnerability along with her optimism as she hopefully anticipates a new world emerging. Raine is supported by a strong cast, particularly the magnificent Linda Bassett and Ian Gelder who play her taciturn and complacent parents with great dramatic and comic effect. The contentment of a family happy to live in their rural world, never questioning their routine and allotted roles, is subtly built up as the play slowly burns towards a dramatic finale.

    Director James Macdonald has created a flawless piece that proves that classic drama can be performed to great effect and made fresh and challenging, provided it is performed and staged well. This is an excellent production that is well worth viewing if you don’t know the play or worth revisiting if it’s a familiar piece to you.

    Roots is on until the 30th of November 2013

    Book tickets here: Roots

  • THEATRE REVIEW | The Picture of Dorian Gray at Dorian Gray’s Townhouse

    ★★★★ | The Picture of Dorian Gray at Dorian Gray’s Townhouse

    Staged in a Georgian townhouse in Greenwich “modernised” to suit a wealthy Victorian resident, The Alchemist Order have presented an exciting and innovative production of this classic Oscar Wilde play.

    For those that don’t know the story, The Picture of Dorian Gray is the tale of a young man who trades his soul for eternal youth and beauty. As he lives a life of hedonism and decadence, a portrait painted of him as a young man ages in his place. Often cited as one of the finest examples of Gothic literature, The Picture of Dorian Gray is exquisitely dark but peppered with Wilde’s trademark wit.

    Dorian, played by the brilliant Mia Hawk, is both innocent and debauched, and Hawk conveys both with conviction. Although momentarily distracting that he is played by a female, the combination of great acting, inventive staging and clever writing soon forgives this. Chatting to the cast after the performance, I learned that Mia had less than a week to rehearse this role following an injury to the original actor, which makes her portrayal of this complex character all the more impressive.

    Samuel Orange, Creative Director of The Alchemist Order, plays Lord Henry Wotton utterly convincingly and has a natural ability to hold a stage, in even the most intimate of spaces. The interplay between Lord Henry and Dorian strikes just the right balance of tension and allure. Similarly notable is Jonathan Redfern, playing Basil Hallward, who brings a somewhat mesmerising flair to his role and is completely believable as the tortured artist.

    An outstanding highlight for me, though, is the fantastic Louise Larchbourne, whose Mrs Leaf is thoroughly engaging, and carries just the right balance of servitude and mastery appropriate for her role. From the moment one steps through the door into Mr Gray’s salon, all through the interval and right through to the time you leave, Larchbourne remains perfectly in character, entertaining and serving guests with a respectful wit.

    This is the inaugural production of The Alchemic Order, and if it is any indication of what is to come, the future of creative and imaginative theatre is very, very secure.

    THE PICTURE OF DORIAN GRAY plays at Dorian Gray’s Townhouse, 2 minutes’ walk from Greenwich station (exact address revealed upon booking) Tues – Sat until 28 September. Tickets are £35 (£25 on Tues) from www.thealchemicorder.com

  • THEATRE REVIEW | A Life Backwards (The Crucible Theatre, Sheffield)

    ★★★★★ | A Life Backwards (The Crucible Theatre, Sheffield)

    After meeting at a protest to support two homeless charity workers, Alexander (played by Will Adamsdale) and Stuart (played by Fraser Ayres) develop an unlikely bond. Stuart becomes intrinsic in the organisation of Alexander’s public campaign and the two men find they have much more in common than they ever thought they would. But for Stuart, who suffers from muscular dystrophy, the reality of life on the streets is never far away and his psychological problems gradually get the better of him as his physical and mental health start to deteriorate. Alexander, who had promised Stuart that he would write a biography that Stuart’s son would want to read, starts to speak to those who knew Stuart growing up. He uncovers a troubled past for Stuart, and starts to understand the impact and implications of Stuart’s family, schooling and disability.

    Based on the biography of the same name, which chronicles the true life story of Stuart Shorter, this play was an outstanding piece of theatre. The intelligent writing of the piece shone through, having the audience laughing out loud one moment and sitting with teary eyes hanging on every word uttered the next. The unravelling of Stuart’s life was beautifully written; with the latter half of the play deconstructing the complex character it had so carefully crafted in the first half. Stuart is portrayed as likeable, funny, resilient and sensitive, yet at the same time violent, volatile, unpredictable and unstable. The script itself was, in equal parts, genuinely funny, moving, warm, touching and upsetting as you learn who Stuart really is and you are left wondering whether you should or shouldn’t actually like him.

    The acting in the play was of a very high standard all round with the minimal cast drawing in the audience with their performances, meaning that you could feel definite shifts in the atmosphere of the studio theatre as everyone became absorbed in the story.

    But undoubtedly, the primary focus was on Fraser Ayres, who gave one of the best performances I have seen in the theatre for many years with his exceptional portrayal of Stuart. His convincing, sensitive and genuine performance of a man tormented by his inner demons and his failing body was quite frankly brilliant, moving, accurate and wholly believable.

    The setting of the Studio Theatre, an intimate performance space at Sheffield Theatres, only added to the total immersion in the play. The production values were basic with a very simple, but astutely utilised, scaffolding set, but the real draw here is the story, performances and emotions of the piece.

    This extraordinary play, produced by Sheffield Theatres and High Tide Festival Theatre is an outstanding piece of work. It was wholly engrossing in terms of its performance, writing and characters and left the audience feeling as though they had been through the full spectrum of emotions with the characters on stage. The thought provoking nature of the play was perfectly balanced with the soul, warmth and humour that punctuates it and provided an incredible opening to Sheffield Theatre’s autumn season. A must see.

    Stuart – A Life backwards is currently playing at the Crucible Theatre, Sheffield until the 28th September 2013. Details can be found at http://www.sheffieldtheatres.co.uk