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 | The Price, Wyndham’s Theatre, London

    THEATRE REVIEW | The Price, Wyndham’s Theatre, London

    ★★★★ | The Price

    (C) Nobby-Clark

    There is a price to pay for everything in life, and in the new play The Price, this is true.

    Now playing at Wyndham’s Theatre in the West End, one of Arthur Miller’s least known plays is a study of two brothers who have not spoken to each other in 16 years yet each has their demons, each have paid a price for decisions they had made in life. Brothers Victor (Brendan Coyle) and Walter Franz (Andrian Lukis) have not seen each other for 16 years since their father passed away. During this time, Victor has kept dozens of his parents pieces of furniture in his attic, and he’s decided to get rid of them. So he asks 89-year old appraiser Gregory Solomon (a wonderful and definite Olivier Award in this role for David Suchet) into the home he shares with his wife Ester (Sara Stewart). Solomon is a Miller character, and Suchet injects his character with such panache, humour and vulnerability that it’s a master class of acting.

    Meanwhile, Walter suddenly shows up, having not returned any, any of Victors’ phone calls over the years. And, yes, there has been a price in not returning those phone calls, and we learn that Victor paid an even bigger price by remaining at home to care for his father when he was getting sicker and sicker. And all Ester wants is to have enough money to be comfortable, and as the going gets rough between the two brothers, Solomon offers a price for the furniture. Is the price a good one? Is there a price for being a responsible son, versus one who flies the coop and becomes successful? All of this drama takes place with the backdrop of the great depression in their past.

    The Price, which was written in 1968, is about estranged brothers facing up to the lasting effect of the Depression on their family three decades on. It’s also about not reaching your dreams, and family conflict. The set, where dozens of pieces of furniture are literally hanging on the side of a wall (by Simon Higlett), is genius. Also genius is the acting. Suchet is superb, and Coyle is at ease as the brother who may or may not have been manipulated by his sick father. Under the direction of Jonathan Church, The Price is worth the price of a ticket.

    The Price is playing at the Wyndham Theatre until Saturday, April 27th.  Book tickets here

     

  • THEATRE REVIEW | Rip It Up, Garrick Theatre, London

    THEATRE REVIEW | Rip It Up, Garrick Theatre, London

    ★★★ | Rip it Up

    The 60s are back in the West End, and add a lot of dancing, throw in a few handsome pop stars, and what you have is an evening of very very light theatre.

    Rip it Up, now playing at the Garrick Theatre, throws into the mix the best songs from the 60’s with beautiful choreography (by Gareth Walker, who is also the Director), and starring four former Strictly Come Dancing Contestants, and heartthrobs.

    Louis Smith MBE (former Olympic gymnast and all around hunk), Aston Merrygold (former member of the X-Factor group JLS), Harry Judd (drummer in the worldwide famous pop group McFly), and last but not least Jan McGuiness (from The Wanted). These men, along with a bevy of young and sexy backup dancers, give it their all with fancy dance moves and upbeat music. But the best part of the show is the amazing singing by Jill Marie Cooper and Ant Brant. Cooper wins the audience over in her renditions of songs from Dionne Warwick to Jefferson Airplane, which lifts this show up a couple notches for without them this would’ve been just another jukebox musical without the jukebox.

    All of the four male leads are fine, but they are not allowed to individually shine that much. Merrygold only gets to sing a couple songs, while we are treated to an all too short gymnastics routine by Smith (though luckily for he spends most of the time in the show either topless or wearing tight clothes). He is also a very graceful dancer. Judd is allowed a one minute drum solo (the audience wanted more), while McGuiness really doesn’t seem to offer much, though he tries his darndest to keep up with the dance moves.

    Emcee Cavin Cornwall does a fine job guiding the audience through the different musical sounds of the 60s, though he wobbles horribly through ‘Heard if Through the Grapevine‘. Videos of Lulu, Tony Blackburn, designer Zandra Rhodes and the indelible Dionne Warwick tell us what is was really like in the 60s – show us don’t tell us! And Lulu actually comes on a few too many times.

    But ultimately Rip it Up will only appeal to fans of the X-Factor and Strictly Come Dancing (of which all four stars have danced in). I can see this show selling out on the UK tour, but for a West End stage, it doesn’t quite feel right.

    Rip it Up plays at The Garrick Theatre until June 2, 2019

  • THEATRE REVIEW | My Dad’s Gap Year, Park Theatre, London

    THEATRE REVIEW | My Dad’s Gap Year, Park Theatre, London

    ★★★★ | My Dad’s Gap Year

    Review of My Dad's Gap Year
    (C) Pamela Raith

    A father and son take an adventure of a lifetime in My Dad’s Gap Year.

    Now playing at the Park Theatre in Finsbury Park, My Dad’s Gap Year is a hilarious comedy about a father trying to bond with his conservative gay teenage son while going through a mid-life crises. Dave (Adam Lannon), dad of 18-year old William (Alex Britt), feels it’s time for them to sow their wild oats. But uptight William is not so wild, he frowns upon everything his unemployed dad does, which includes lying around the messy house not being productive. Meanwhile, William’s mom and Dave’s ex wife Cath (Michelle Collins), being the sensible one, holds a full-time job while maintaining an arm’s length relationship with Dave. But when Dave, at the very last minute, persuades William to go with him to Thailand for some father and son bonding and fun, them, and Cath, have no idea who sort of adventure, and trouble, Dave and William will get into.

    But once in Thailand, William meets cute architect Matias (Max Percy), while Dave meets beautiful Mae (a lovely Victoria Gigante). While Williams falls head over heals for Matias, Dave does the same for Mae, who works at a bar where all the ‘women there were born boys.’ But Dave’s drinking problem never goes away, while William has his own personal meltdown, leaving Cath to go to Thailand to do damage control.

    My Dad’s Gap Year is a fun show with a great cast. At only 90 minutes, it’s crisply directed (by Rikki Beadle-Blair) with funny dialogue and actors who deliver their lines perfectly. And while the show wraps up a bit too neatly at the end, all the actors are very good throughout. Lannon is very good as the father, Collins gives the show extra spark, but it’s Gigante who is extra special as Mae, a girl who just wants to have a happy life.

    My Dad’s Gap Year plays at the Park Theatre until 23rd Feb 2019. Book Tickets Here

  • THEATRE REVIEW | Leave to Remain, Lyric Hammersmith, London

    THEATRE REVIEW | Leave to Remain, Lyric Hammersmith, London

    ★★★★| Leave to Remain

    Tyrone Huntley (Obi) and Billy Cullum (Alex) in Leave To Remain at the Lyric Hammersmith. Photo credit Helen Maybanks.

    Leave to Remain, now playing at the Lyric Hammersmith, is a modern love story set to a rock score and brilliantly tells the trials and tribulations of a multi-racial same-sex couple dealing with their upcoming marriage.

    Alex (Billy Cullum) and Obi (Tyrone Huntley) met just ten months ago but they’re already in love with each other. But American Alex, you see, is 5 years clean from drugs, and the company that sponsors his work permit is moving to Abu Dhabi. Obi, meanwhile, is a successful advertising executive with a nice loft in a trendy part of town. But Alex is not a British citizen, so if his job relocates to another country Alex has to go back to America. So what could be more simple then for Alex and Obi to get married in order for Alex to remain in the country? Well, it’s a lot more complicated then it sounds.

    The complications aren’t with Alex’ past drug history, nor is it with Obi’s secret meetings with a man named James, but the complications lie with their respective families. Alex’s mom Diane (a wonderful Johanne Murdock) is a non-stop talking busy body hands-on mom with a relatively patient husband Brian (Martin Fisher). Meanwhile, Obi’s father Kenneth (Cornell St. John) never quite accepted his son’s homosexuality, throwing him out of the house when he was just 16, much to the dismay of Obi’s mother Grace (a fantastic Rakie Ayola) and understanding sister Chichi (a great Aretha Ayeh). But with days and even hours, before the wedding, complications arise, and it’s touch and go if the wedding will happen at all, even in the light of a startling announcement from Alex’s parents and the continuing disapproval from Obi’s father. It’s all set to a rock score that’s just as modern and good as anything you’ll see in the West End.

    All the songs that are catchy and memorable and are a very good match for the story. Credit for this goes to writer Matt Jones and writer/composer Kele Okereke (Bloc Party) who somehow seamlessly and superbly set this story in present-day London to fantastic music. There’s a brilliant, and well-choreographed scene, where both families get together for the first time and sit around a dining room table set to a song called ‘To Family’ that is both hilarious and memorable. And while not one single cast member really really stands out, it’s the mothers of both young men (Ayola and Murdock) that will most stay with you. A mother’s love for her son will always remain, no matter what. Leave to Remain, directed by Robby Graham, is a truly wonderful piece of theatre. 

    Leave to Remain plays at the Lyric Hammersmith until the 16th Feb 2019, Book tickets here.



    4 /
    5 stars

  • THEATRE REVIEW | Notre Dame de Paris, London Coliseum, London

    THEATRE REVIEW | Notre Dame de Paris, London Coliseum, London

    ★★★★★| Notre Dame de Paris

    The classic Notre Dame de Paris comes to London for a limited time, and it’s well worth your effort to attend.

    Based on the acclaimed 1831 novel Notre-Dame de Paris (and also known as The Hunchback of Notre Dame) by Victor Hugo, Notre Dame de Paris features an international ensemble of singers, dancers and acrobats and tells the tale of the hunchbacked cathedral bell-ringer, Quasimodo, and his desperate love for the gypsy, Esmeralda. The show, which is in London for 7 performances only, culminates with the 5,000th performance of the show. Playing at the London Coliseum in Covent Garden, this production is the original French production. Composed byRichard Cocciantewith lyrics byLuc Plamondon, directed byGilles Maheu and choreographed byMartino Müller, this production stars Angelo Del Vecchio (Quasimodo), Hiba Tawaji (Esmeralda), Daniel Lavoie (Frollo), Richard Charest (Gringoire), and Martin Giroux (Phoebus), among others, and all members of the principal cast in the current world tour. The singers are accompanied by the stunning English National Opera (ENO) Orchestra with Matthew Brind conducting.

    Del Vecchio is a wonder playing Quasimodo. Italian born, he is the only singer in the world to have performed the show in three languages. When he sings he is passionate, and you can feel his love for Esmeralda through his voice. Meanwhile, Tawaji is wonderful as the beautiful and mesmerizing Esmeralda, a role she has played all over the world since 2016. Esmeralda can have any man she wants, but after being kidnapped by Quasimodo, over time she starts falling in love with him. Think Beauty and the Beast and this is what you’ve got – but operatic style. But Notre Dame de Paris is not just opera, it’s grand opera. And in the amazingly beautiful confines of the London Coliseum, it makes for a grand grand show on a grand grand stage in a grand grand auditorium.

    Lavoie is also amazing in the role as Frollo – a priest who also has a dirty hand in the abduction and imprisonment of Esmeralda – only because he loves her but she won’t let him have her. Charest as Gringoire is our poet, and commentator, and guides us through this spellbinding production, while Giroux takes to heart his leading man status, and good looks as Phoebus, who woos not just Esmeralda but any pretty woman in sight. And besides the main actors and their amazing singing, acrobatics and break dancers are interspersed with the story. The cast of about a dozen or so jump, climb, twist, turn – it’s all very mesmerizing and choreographed spectacularly, especially when they climb the walls and dive underneath baricades and perform somersalts. It’s all very energetic and sexy.

    And Notre Dame de Paris is celebrating its 20th anniversary this year. Having sold out performances across 16 countries and been translated into nine different languages, Notre Dame de Paris originallydebuted at the Palais des Congrès in Paris, 1998. Following its opening, the production was commended in the Guinness Book of World Records 2000 for its record success for a musical during its first year.

    Director Maheu and choreographer Müller have created an opera that’s spell-binding in almost every way possible, while the lush music, by Plamondon and Cocciante, is perfect. Notre Dame de Paris is just like the city it’s named after. It’s romantic, beautiful, tragic, and very memorable. Notre Dame de Paris is a must see.

    Notre Dame de Paris plays at the London Coliseum until 27th January 2019. Book tickets here

  • Theatre Review | Benidorm Live – Sheffield Lyceum and National Tour

    ★★★★☆ | Benidorm Live

    Based on the hit TV show, Benidorm Live brings the Solana Hotel, its staff and guests to life in this raucous comedy.  Picking up from the end of the most recent series, The Solana is at risk of takeover from a large hotel chain, and corporate inspectors are rumoured to be masquerading as guests. Intending to bribe the inspectors, the staff to scurry round trying to butter up the seemingly out of place couple who have just arrived at the hotel; as mistaken identities, unrequited love and a cringe-worthy cabaret all combine to try and keep the hotel open.

    Stealing every scene with a deadpan delivery of her innuendo filled lines was Janine Duvitski, as elderly swinger Jaqueline, eliciting the largest laughs with double ententres which would make a sailor blush and a cocktail menu which may put you off drink for life. Tony Maudsley ramps up the camp as Kenneth, “tasteful” t-shirt wearer and the manager of the Blow and Go hair salon, who is hotly and relentlessly pursued by Gay Derek (an excellent Damien Williams). Added into the mix are TV regulars Adam Gillen (Liam), Sherrie Hewson (Joyce Temple Savage), Shelly Longworth (Sam) and Jake Canuso as the resident lothario barman, Mateo.

    Having never seen an episode of Benidorm, it was with some trepidation that I approached the stage show, thinking that I would be a lone island in a sea of people who were “in on the joke”, but that certainly wasn’t the case. Benidorm Live will utterly delight fans of the TV series, and will certainly win over some new ones.

    With with a feel good factor as warm as the Benidorm sun itself, close to the bone comedy which had me giggling like a schoolboy one minute and laughing out loud the next and a smattering of (intentionally cheesy) musical numbers, Benidorm proved to be the perfect, and incredibly funny, antidote to the January blues.

    Benidorm Live is at Sheffield Theatres until 26th January 2019 before continuing on its national tour.

  • THEATRE REVIEW | Coming Clean, Trafalgar Studios,London

    ★★★★☆ | Coming Clean

    Before the late Kevin Elyot wrote his hit 1994 play My Night with Reg, he wrote Coming Clean (which opened in 1982). It’s now back in the West End after a recent successful run at the King’s Head Theatre.

    Both shows deal with the trials and tribulations of being gay, and being in gay relationships. But where My Night with Reg had an AIDS backdrop, Coming Clean takes place during a simplier time, before the HIV crises and before gay men were dying right and left and centre.

    At the heart of Coming Clean is the story of a bi-racial couple who, after five years together, obviously have issues. Tony (a natural Lee Knight) and Greg (Stanton Plummer-Cambridge) still love each other, but there is slight tension in the air.

    Greg is a successful teacher and writer, while Tony is a not-so-successful writer who writes when he feels like it. And then there is their neighbour William (a fabulous Eliot Hadley), who is funny, camp and all so great to have around. But Tony needs more time to write, and says he doesn’t have time to clean the Kentish Town flat that he and Tony live in, so enter Robert (Tom Lambert), who is hired to clean for them.

    It’s obvious where this biting play goes next, but it wonderfully takes us with it through sharp wit and extremely funny one-liners.

    And Coming Clean successfully incorporates early 1980’s songs by, among others, Men at Work and Barbra Streisand (where her and Barry Gibbs voices on the song ‘Guilty’ are just like butter) to set the mood of the times.

    The actors are all very good, with Hadley just about stealing the show (he comes back near the end of the play as a totally different character – think German Leather), and Knight looks very comfortable on stage.

    It’s an intimate stage that could double as a large living room (Trafalgar Studios), and it’s even more of a treat for those audience members who sit in the first row, as they get to be very very close to Lamberts’ bits. This show is highly recommended!

    Coming Clean plays at the Trafalgar Studios until February 2nd, 2019. Book Tickets Here

  • THEATRE REVIEW | Songs for Nobodies, Ambassadors Theatre, London

    THEATRE REVIEW | Songs for Nobodies, Ambassadors Theatre, London

    ★★★★☆ | Songs for Nobodies

    Credit – Nick Brittain

    Songs for Nobodies is actually songs for everybody in a new one-woman show now playing in the West End.

    Australian Bernadette Robinson treats the audience to her ability of being able to sing, uncanningly, like several very famous female singers. But before we get to hear her sing the five voices included in this show Robinson sets up by five fictional characters who each come in contact with each singer. Before she sings the fabulous ‘Come Rain or Come Shine’ by Judy Garland, Robinsons’ character is Bea Appleton, a bathroom attendant at the Plaza Athénée on the night of Garland’s famous Carnegie Hall appearance. Robinson as Appleton goes on to tell the story of their fictional encounter and then breaks out into song. And the same goes for when Robinson sings Patsy Cline’s beautiful ‘Crazy.’ Robinson is now an usher in Kansas City and meets Cline in her dressing Room. Similar monologues set her up singing as Billie Holiday and Maria Callas, but it’s Robinson singing Edith Piaf’s ’Non, Je ne Regrette Rien’ that brings down the house.

    But for a 90-minute show with no interval, there are a mere 9 songs sung. It’s a shame that Robinson’s speaking voice and not her singing voice encompasses most of the show. It’s a very beautiful singing voice, especially in such an intimate venue as the Ambassadors Theatre.

    Songs for Nobodies, written by Joanna Murray-Smith, (and named as such because of the characters Robinson plays as opposed to the characters she performs as), is a show starring a woman with a special voice that’s a gift, and is now playing only up until February 23, 2019.

    Songs For Nobodies play as the Ambassadors Theatre until the 23rd Feb 2019. Book now

  • THEATRE REVIEW | Moscow City Ballet’s The Sleeping Beauty, Sheffield

    ★★★☆☆ | Moscow City Ballet’s The Sleeping Beauty

    Set to the music of Tchaikovsky, and recounting the fairy tale of The Sleeping Beauty; Moscow City Ballet return with one of their better presented, yet staunchly traditional ballets; as Princess Aurora is cursed by the evil fairy, Carabosse, and sleeps for 100 years until she is awoken by the kiss of a prince.

    Of the various ballets in Moscow City Ballet’s repertoire, this is perhaps one of the better presented pieces. With its feet planted very much in the traditional tights and tutu’s style ballet, this production lacks the dramatic flair of Matthew Bourne’s New Adventures; and doesn’t have the detailed narrative of Northern Ballet; but does offer a timeless take on a classic ballet which is used to showcase the dancer’s skills and talents, rather than deliver an exhilarating narrative or flashy visuals.

    With some impressive costumes and utilising a static set of backdrops to create a workable dance space, there were times when the ballet sparkled and really came alive, especially during the ensemble pieces and, in particular, in the opening scenes of Act 2, which were quite charming. But despite the technical ability of the dancers, the choreography felt rather lacklustre at times, especially towards the end of the third act where it all became rather repetitive. Compounding that, there appeared to be little connection between the characters on stage, with the dancers performing with fixed grins whilst staring out into the middle distance, and not really looking as if they were enjoying themselves at all.

    Sleeping Beauty is a mixed production. When it is at its height, it has genuine charm; but does have a few lulls in the pacing of the production, especially as it tails off towards its conclusion. But that said, it has some technically excellent performances from the company and is about as traditional as they come.

    If you are looking for an accessible, straight forward evening of ballet which showcases the skill and suppleness of these talented individuals, then this may well be the production for you.

    Moscow City Ballet are at Sheffield Theatres until 12th January 2019 before continuing on their national tour showcasing four ballets, Swan lake, The Nutcracker, The Sleeping Beauty and Romeo & Juliet. Details can be found on their website.

  • THEATRE REVIEW | Nine Night, Trafalgar Studios

    ★★★★☆ | Nine Night

    It may come as quite a surprise to learn that Nine Night is the first play from a Black, British female writer to make it to the West End. I’ll just let that sink in for a moment.

    Nine Night is Natasha Gordon’s deft exploration of the traditions of a West Indian wake, referenced in the title, a time when the departed are honoured and remembered by living relatives over a celebration of nine nights, fuelled with upbeat music, home cooked food and the ever so important in most West Indians drink cabinet – rum! Against this, as the backdrop, the semi-estranged family gather to mourn and then slowly unlock a string of revelations, all in the kitchen.

    It is certainly a play for everyone and anyone to enjoy but is most definitely a must-see for anyone of West Indian heritage, a rare chance to see some of the most intimate parts of their culture brought out into the wider public gaze. And while such kitchen-sink dramas have been a staple of British Theatre since the ’60s, few productions have featured so many characters drawn so exquisitely.

    For me, the play came to life immediately through its authenticity particularly when the thick Jamaican accented Aunt Maggie and Trudy, cousin and daughter of Gloria respectively, began to speak. It is such a revelation to hear those gorgeous tones, sonic beacons of ethnic diversity uttered from a stage deep in the hallowed ground of the West End.

    As I said, it is a play for all but as a West Indian spectator the whole resonated with my background and experiences, I bought into the scenes and scenarios displayed before me, one which tugged my heartstrings, jogged deep-rooted memories and spoke to my very being.

    I felt Trudy’s emotion, angst and painful need to be wanted as soon as she appeared on stage but it was only towards the end of the play that I felt that writer’s character, Gloria’s daughter Lorraine, was given a chance to step out of an, up until then, mostly monotonous role and we began to see our writer and storyteller of Nine Night swell with emotion.

    It is a testament to the writing and the characters that had been created for them that the rest of the cast each stand their ground memorably, especially in their approach to grieving their beloved matriarch. We witnessed some wilfully theatrical overacting from daughter-in-law Sophie, which wonderfully balanced her husband Robert’s convincingly ill at ease performance. Uncle Vince delivered a humble contrast to his cantankerous wife and introduced some clever and subtle sub-texts about his relationship with the late Gloria.

    Even if the scenario is unfamiliar to many in the audience, Aunt Maggie acted as the perfect host, inviting us into the late Gloria’s house and breaking the inherent tensions with her hilarious one-liners; quips and asides that that could strip wallpaper without steam.

    Natasha has done a masterful job with the writing and production of Nine Night. I thought it would be interesting to see her role developed more in perhaps an amended version of her character Lorraine. I would certainly watch it again and recommend it heartily to everyone, no matter what their cultural background, as what is at the heart of this smart play is something everyone can relate to.

    It’s essential that both Natasha Gordon and Nine Night’s place in theatre history is appreciated: but it’s at least as necessary to remember that it’s a great play – I will certainly drink to that!

    Nine Night runs until 23 Feb 2019 at the Trafalgar Studios, CLICK HERE TO BOOK

    Running Time: Approx. 1 hour 45 mins no interval

    By Ray Si – a member of IGLTA

  • Theatre Review | Kiss Me, Kate – Crucible Theatre

    ★★★★☆ | Kiss Me, Kate – Crucible Theatre

    Written by Cole Porter in the 1940’s, Kiss Me, Kate is a delightful, old-fashioned musical, combining the classic elements of mistaken identity, a will they/won’t they love story, a bit of swindling and a bunch of likeable characters all interwoven with an appealing collection of songs by one of the best composers of the era.

    Porter’s tale stages a play within a play, telling the story of Fred Graham, an actor and director who casts his ex-wife as his co-star; and finds himself in hot water when one of his other leading men signs off a gambling debt in his name. He tries desperately to keep his musical production of The Taming Of The Shrew on track, as a couple of inept gangsters show up to collect the debt and Grahams relationship with his ex-wife sways between love and hate. But as everything falls apart and the backstage bickering starts to mirror the story on stage, Graham does everything he can in ensuring that the show must go on.

    The songs from Kiss Me, Kate are some of Porter’s most sterling work, with an overarching jazzy vibe which made the musical numbers delightfully catchy. The songs still sparkle and fizz with wit and humour, and there is a show-stopping number at the opening of each act. “Another Openin’, Another Show”, “Tom, Dick or Harry” and “Too Darn Hot” were all proper toe-tappers, and the multiple reprises of “Brush Up Your Shakespeare” were delightfully laughter inducing.

    Edward Baker Duly and Rebecca Lock were superb as the quibbling couple, whilst Dex Lee was criminally underused as Bill and his triple threat status certainly makes him one to watch; but stealing most of their scenes were Delroy Atkinson and Joel Montague as the ham-fisted mobsters. Paul Foster directs with a steady hand, whilst Strictly choreographer Matt Flint keeps the musical numbers light and fun. Only the costume and set design let the show down slightly, with too much of a cartoonish feel to both to really work.

    Kiss Me, Kate is firmly established as a classic, traditional musical and this is a fun, frenetic and frivolous production which, as a sucker for an old-fashioned musical, I found very hard to resist.

    Kiss Me, Kate is at the Crucible Theatre, Sheffield until 12th January 2018. Visit their website at www.sheffieldtheatres.co.uk for details and tickets.