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 Band

    ★☆☆☆☆ | The Band


    The new show The Band is not, as you might think, a musical about Take That – but it damn well should’ve been.

    What we get is a show about four forty-something women who reunite after not having seen other for a long time to see their favourite boy band (now of course no longer a boy band) at a reunion tour concert in Prague. Why Prague you might ask? Because one of the women won a competition to see the band perform there. Why couldn’t one of them have bought tickets to a more local show if they loved the band so much? Well, that would’ve been too easy and would’ve left out one of the major plot points of this show – a broken penis.

    Yes, a broken penis. You see, while the women are in Prague, they get a bit carried away and break the penis off of a priceless statue. Now, if this would happen in real life the women would’ve gotten heavily fined, and perhaps jail time. But when said penis, which is attached to a statue that actually does come to life (before the said penis is broken off), with the penis visible for all the audience to see, it makes for one of the most unintentional laughable moments in the West End. It’s not just laughable – it’s shockable! Who signed off on this scene? And this is just the tip of the iceberg. Take That’s big hit ‘Relight My Fire’ is sung while the characters (while still schoolgirls) are on a bus heading home from a concert, with the carefully hand-picked cast of the boy singers dressed up in bondage gear (with horse helmets). And then all of a sudden out of nowhere one of the girls is killed. Hmmm?

    Another head scratcher is when the song ‘Never Forget’ is sung by the fab five in an airport lounge. There is also a bit of fat shaming in the show (one of the women is obese). Did I mention that the boys can’t really hold a tune and sing in harmony? Or in tune? Not once is the band introduced as characters, meanwhile, they glossfully sing in the background to scenes that have no real connection to the songs.

    This is a jukebox musical that is as empty as a machine with no quarters in it. Sure the songs are great (who doesn’t love a Take That song or two), and one of the women happens to be lesbian, and AJ Bentley has the strongest vocals of all, but what do you expect from a musical show where the singers (boyband) were chosen from a reality television show?

    Whoever signed off on this mess should be really ashamed of themselves. Robbie, Howard, Gary and Mark – you listening?

    The Band plays at the Theatre Royal Haymarket, London. Book tickets now

  • THEATRE REVIEW | Northern Ballet’s The Nutcracker – Leeds Grand Theatre

    ★★★★☆ | Northern Ballet’s The Nutcracker – Leeds Grand Theatre

    Everyone has their own event which confirms to them that the festive season has arrived, and for some, Christmas isn’t Christmas until they have had their traditional trip to see Tchaikovsky’s The Nutcracker. The ballet tells the story of Clara, a young girl who is given a gift of a nutcracker which comes to life, and the handsome Nutcracker Prince transports her on a magical journey to battle The Mouse King, to sweep through a snow-filled forest and on to a celebration in an enchanted garden.

    There are a number of things to recommend this production, there is humour in its presentation, with some well-timed moments of comedy, whilst the scene in the snow-filled wood was enchanting. David Nixon has choreographed a thoroughly enjoyable ballet which simultaneously feels both traditional and fresh, and which has benefitted enormously from its new look and costumes.

    Northern Ballet is well known for their theatrical presentation and their storytelling; both of which combine to make this revamped production ideal for all. Young families will be charmed by the magic and spectacle; ballet novices will find the story accessible and enjoy the well-paced number of short set pieces which provides plenty of variation; and for those with a love for ballet, there are the technically impressive performances. Throw into the mix a live orchestra performing a score which you will instantly recognise and you have all the elements of a beautifully presented ballet.

    The Nutcracker is an utterly charming, enchanting and high-class production which is full of sparkle; and if the end of the first act doesn’t leave you feeling festive, then very little will.

    Northern Ballet’s The Nutcracker is at Leeds Grand Theatre until the 16th December 2018. Visit www.northernballet.com for more details

  • THEATRE REVIEW | Rock of Ages – National Tour

    ★★★☆☆ | Rock of Ages – National Tour

    (C) JEREMY DANIEL

    A number of years before TV series Glee rekindled people’s love of Journey’s “Don’t Stop Believin’”, Rock of Ages had been using the song as its centrepiece for some time; as the show tells the story of a bunch of misfit characters who battle to save their favourite bar, fall in love and work their way through a catalogue of eighties soft rock classics.

    Beautifully held together by narrator, Lonny (a deliciously camp performance from Lucas Rush), and with a strong ensemble cast, the show’s humour is a little close to the bone on occasions but proves to be immense fun, with plenty of laugh out loud moments, some great ensemble set pieces and some excellent vocal performances. Luke Walsh stands head and shoulders above the crowd as Drew, belting out the musical numbers with, seemingly, no effort whatsoever and never once having to strain or force a note.

    The production has certainly benefitted from a makeover, especially in the excellent lighting design; the musical numbers come at you thick and fast and the cast gets the audience involved from the outset. Whilst underneath it all, the show has a message about following your dreams, it’s the party atmosphere, energy and enthusiasm of the cast that sweep you along as the show heads towards its rousing finale and brings the crowd to their feet.

    Rock of Ages cranks up the comedy, camp and chaos to eleven, and proves that “sex, drums and rock ‘n’ roll” are still very much alive.

    Rock of Ages is on National Tour. For details visit the show’s website at http://www.rockofagesmusical.co.uk/ 

  • THEATRE REVIEW | Magic Mike Live, Hippodrome Casino, London

    THEATRE REVIEW | Magic Mike Live, Hippodrome Casino, London

    ★★★★| Magic Mike Live, London

    Expect to be titillated, turned on, terrified (a bit) and perhaps tortured when you go see the newest, and hottest, strip show in town.

    Channing Tatum presents Magic Mike Live, on stage in London at The Hippodrome Casino. And while Channing Tatum won’t be on stage taking his clothes off for the audience’s pleasure (though he did attend last week’s opening night), you can guarantee that what you’ll get is exactly what you saw in Tatum’s Magic Mike films where Tatum, and several other hot actors, played male strippers (Magic Mike (2012) and Magic Mike XXL (2015)). Both films made lots of money – and so will this show (tickets range from £29 to £95).

    Magic Mike Live is 90 minutes of pure adult entertainment (for the ladies) where more than a dozen good-looking, sexy, hot, and did I mention sexy? men perform for the screaming crowd in a dance and acrobatic spectacular in front of, behind, and literally above their audience. But things get better when the men strip off (to their black undies) and give lap dances to the lucky audience members for performances that are unforgettable and breathtaking.

    What is forgettable is the emcee for the evening – Sophie Linder-Lee. Her task is to talk the audience through the action – but it is really necessary? The action, and the male flesh, speaks for themselves!

    The theatre at the Hippodrome Casino has been transformed into an intimate, state of the art, magical new home just for Magic Mike Live. And the show is booking all the way to October 2019 – this is how popular the show is!

    Just remember, it is strictly an over 18 only event, and sure the audience members are allowed to touch the men, but just be careful that your hands don’t wander to parts unknown!

    And after 90 minutes, your heart and blood, will be racing for what is being billed as ‘the sexiest, steamiest show in town.” And while it’s mostly for the ladies, on the night I saw it there were about 6 guys in the audience – a couple were accompanying their missus but the others were gay. So don’t be intimidated – go see the show. And hopefully one of the boys will give you a lap dance!

    Magic Mike Live plays at the Hippodrome Casino, London until Sunday 27 October 2019. Book now

     

     

     

  • THEATRE REVIEW | The Wizard Of Oz, Birmingham Rep

    ★★★★★ |The Wizard Of Oz, Birmingham Rep

    • a marvel spectacle matching the West End

    This seriously was the most fun I’ve had at a theatre for a long time. My jaw dropped countless times at the set, costumes, effects and the talent of the ensemble. The Wizard of Oz by Frank Baum, with music and lyrics by Harold Arlen and E Y Harburg, is a story that has been part of every generation, and The Rep pulled out all the stops with this gem.

    From the start, you were gripped by Dorothy’s plight, and we highly sympathised with her not wanting to give such a cute dog away. The first scenes, our hearts melted with the use of a real dog who just looked adorable as the scenes moved and swished around him. Chisara Agor played Dorothy with much sweetness and love, making for a very heart-wrenching story live on stage. Chisara was very dexterous with her singing and movement abilities; it made for an unstoppable watch.

    The three main characters, Scarecrow (Ed Wade), Tin Man (Dillon Scott-Lewis) and Lion (Kelly Agbowu) were surreally brilliant; sublime in their characterisation. Other than the original film, their portrayal was my favourite, and I felt like a kid again. I was a little nervous that the show may have been more for children, but every generation was in awe and drawn in with the magic and illusion. Ed was superb as the scarecrow with mannerisms being truly identical to the film, but with his own twist, rolling around and walking differently. Dillon was a movement mastermind. His dance ability resulted in a masterpiece performance of Tin Man – the way he walked and moved was an eye-popping effect on its own. I would watch it again purely to watch Dillon as Tin Man. Lion, played by Kelly, though lacking in courage, had vocal chords of an Angel, seriously what a voice! I can see why Lion had many songs as Kelly‘s voice was heavenly.

    The set, designed by Angela Davies, was honestly spectacular. I have seen many shows now, but this show really made me feel like it was my first time experiencing new wonders. I can’t imagine how excited the children must have been in the audience.

    The character of Oz was incredible – a massive head with eyes and mouth that moved as Oz spoke, and it made to appear like it was a real giant’s head. This was worth the wait.

    The highlight of the show for me was the Munchkin dance when Dorothy arrives into the land of Oz and crushes the Wicked Witch of the East. The puppets, designed by Samuel Wyer, together with performers puppeteering them, dazzled the audience, and I just kept hearing ‘wow’ and ‘oh my god’ from all around me. The detail of the characters and the versatile movement of each character was a stroke of genius. I could watch that routine over and over again.

    Never have I wanted to recommend a show as much as The Birmingham Rep’s The Wizard of Oz.

    Running: 24 November – 13 January

  • THEATRE REVIEW | Dietrich Natural Duty, Wilton’s Music Hall, London

    THEATRE REVIEW | Dietrich Natural Duty, Wilton’s Music Hall, London

    ★★★★★ | Dietrich Natural Duty

    Marlene Dietrich has been called to duty – and lucky for us it’s in London.
    Dietrich, star of many a stage and film, as well as many a front line during WWII, was a legend, was a humanitarian, and was perhaps one of the most famous women of the 20th Century. Now, for a second time this year, we can bathe in her presence, and voice, in a show called Dietrich Natural Duty: A One (Wo)man Show now playing at the almost gorgeous as Dietrich venue Wilton’s Music Hall.
    In a stunning, shimmering, glittery beaded golden sequin dress, Dietrich (played to perfection by Peter Groom), takes us back to the time when she, in 1942, amidst the battlefields, turns her back at the country of her birth, Germany, and helps to rally, and excite, the troops. Through a mix of song, wit, curves, and a voice to die for, Dietrich Natural Duty is an irresistible and breathtaking show where Groom just about channels his inner and outer Dietrich to shear perfection. This show, and Groom, is mesmerising and will take your breathe away.
    Duetrich Natural Duty: A One (Wo)man Show ends its run on Saturday November 24th. To buy tickets, please click here:
  • THEATRE REVIEW | Briefs, Leicester Square Spiegeltent, London

    THEATRE REVIEW | Briefs, Leicester Square Spiegeltent, London

    ★★★★★ | Briefs

    The Briefs boys are back and they’re being extra naughty!

    You know the boys – they are the burlesque troupe from Australia who, annually, bring us fun, frolics, and huge loads – of sexiness – to the Underbelly tent in the Southbank every summer season. Well this year they’re giving us a extra dose of themselves – they are putting on their act in Leicester Square!

    Headlining two shows in the Leicester Square Spiegeltent (the first show at 7:30 and a second at 10:15), Briefs: Close Encounters take us into outer space with the sexy guys who wear all sorts of space attire (and luckily for the audience the attire comes off!) in a show that can be described as too sexy for space!

    The cast, and pretty much the show, is very similar to their show at Underbelly – but the space theme is a twist in the right direction! The Briefs boys, led by fabulous emcee Fez Fa’anana, includes one of Australia’s leading circus showmen Captain Kidd; acrobat and clownish time-hopping rabbit Dale Woodbridge-Brown; superstar aerialist Thomas Worrell, defying gravity and tying himself in knots above the crowd; and the youngest member of Briefs, the loveable rogue and boy wonder Louis Biggs, as well as performance artist Harry Clayton-Wright.

    They perform their circus skills, raucous comedy, and display their unique disrobing skills for the audience to enjoy. But stop press – the 10:15 p.m. show is even more racier, more raucous, with more genitalia on display, and isn’t that what the world needs now?

    And after the 10:15 p.m. show the tent becomes a disco where you can dance and boogie with the stars of the show! Having attended both shows last week, and then stayed on for the disco, we had an excellent time. With this, we are definitely buying tickets for their New Years Eve Extravaganza, which will be the place to be in London. It will be guaranteed trash, disco, glamour and nudity!

    Briefs: Close Encounters is an encounter I want to experience again and again!
    Book tickets for Briefs: Close Encounters click here
  • THEATRE REVIEW | Everybody’s Talking About Jamie, Apollo Theatre, London

    THEATRE REVIEW | Everybody’s Talking About Jamie, Apollo Theatre, London

    ★★★★☆ | Everybody’s Talking About Jamie

    (C) Matt Crockett

    Jamie, Jamie, Jamie. ‘Everybody’s Talking About Jamie!’ And damn right they should be. And it’s one year old!

    Everybody’s Talking About Jamie, in case you haven’t heard by now, is the heartwarming story of Jamie – a young man from Sheffield who is different from the other kids in his class.

    When his teacher asks her students what they want to be when they grow up, one says doctor, another says lawyer, while Jamie says that he wants to be a drag queen! Supported by his mother and her best friend, along with some of his best mates, who all happen to be girls, Jamie’s dream may eventually come true! But first, he has to overcome prejudice, as well as the school bully (and also an unloving father who has practically disowned him), to be able to be who he wants to be!

    Everybody’s Talking About Jamie opened to critical acclaim at the Sheffield Crucible in 2017, and has been playing to practically sold out audiences for exactly one year at London’s Apollo Theatre in the West End.

    It’s a heartwarming and enduring story that’s actually true. It’s based on the life of Jamie New – who appeared in a 2011 BBC documentary called Jamie: Drag Queen at 16. With Music by The Feeling’s Dan Gillespie Sells, and Books and Lyrics by Tom MacRae, Everybody’s Talking About Jamie is touching, but at the same time manufactured in the way Kinky Boots is (we all know how it is going to end).

    John McCrea is brilliant as Jamie – he really works the stage in those high high heels! And he’s a dead ringer for the real Jamie! Rebecca McKinnis is great as Jamie’s mum Margaret, and she does get a show-stopper or two (‘He’s my Boy’ may bring a tear to your eye).

    In a bit of stunt casting, Michelle Visage is the teacher, but it’s Shobna Gulati who plays, and is fierce, as Margaret’s best friend, and one of Jamie’s staunchest supporters.

    It’s a feel-good show with a feel-good message, and isn’t that we all need right now!

    Book tickets to see Everybody’s Talking About Jamie!

  • Theatre Review | The Messiah – National Tour and West End

    ★★☆☆☆ | The Messiah

    The Messiah unfolds as a travelling theatre troupe of two actors and an opera singer arrive by camel to masterfully enact the Nativity, albeit through personal breakdowns, misguided scenes and direct address to the audience in this comedic three-hander.

    Hugh Dennis (TV’s Outnumbered and Mock The Week) effectively plays Maurice Rose, the kind of guy you wouldn’t want to sit next to on a long train journey, and who is the relatively straight man to John Marquez’s innocently naive fall guy, Ronald Bream. The humour is subtle, if repetitive at times, centring mainly on the deadpan delivery of the multiple characters and the mispronunciation of words and phrases, with a few trips and blunders thrown in as the characters struggle to get through the play.

    The quality of the production overall is more than functional, with a versatile set, a decent lighting design and two fine central performances from the male leads.

    But where the show itself stumbles is in its portrayal of a deliberately bad performance by the amateur company, which is so convincing, it actually just feels like watching a badly acted play. Furthermore, an underused Lesley Garrett looked slightly uncomfortable and out of her depth at times as the demanding diva; although to be fair to her, she did so with her tongue planted firmly in her cheek.

    Sadly short on laughs, the handful of jokes stretch thinly over the show’s running time and even some forced audience participation can’t conjure up enough Christmas sparkle to elevate the show to a “must see”.

    The Messiah is currently on Tour at Sheffield Theatres, before heading to Chichester, Cheltenham and Richmond; and arriving at The Other Palace in the West End on 3rd December for Christmas.

  • THEATRE REVIEW | The Lovely Bones – The Birmingham Rep

    ★★★★☆ | The Lovely Bones

    – a chilling and sombre affair

    A lot of people celebrated Halloween dressed up in fancy and harrowing costumes while others chose to visit The Birmingham Rep to watch The Lovely Bones adapted by Bryony Lavery.

    This production was a visual marvel with versatile, complex sets and effects that made you jump. It was 1 hour and 45 minutes long without an interval, so you were drawn to the story and scarcely had a chance to breathe.

    Based on the novel by Alice Seabold, it depicted well the account by Susie Salmon as a ghost, and the frustration of the book though the intensity of the book was way more gripping. Adapting a novel with nail-biting tension and translate it to the stage was always going to be a big ask. This play, however, did a great job with multi scenes going on at once which helped cancel out really drawn out scenes which can happen when an adaptation is too literal.

    Charlotte Beaumont played Susie and she was very believable. Her growing anger and annoyance were superbly achieved. Mr Harvey played by Keith Dunphy was exactly how you would imagine him to be in the book, said my friend. His voice and slow movement made for a very sinister character – the audience felt on edge whenever he appeared on stage as he was getting away with murder, literally. Jack Salmon played by Jack Sandle was very captivating with his passionate and energetic portrayal. Karan Gill was a dexterous multi-part player and was brilliant at playing Holiday, having the whole auditorium in stitches with embodying typical characteristics of a dog. Abigail Salmon player by Emily Bevan performed her last speech with emotion and sincerity, but there was some inconsistency with emotion when finding out about her daughter, or it was perhaps the very fast changes of time that did not allow for Abigail’s grief to be fully explored. Pete Ashmore played Detective Fenerman, and he was brilliant in this role really adding to the frustration of the unsolved murder. As a teenager, it was not as convincing, for his voice was too mature. I struggled to imagine him as Lindsey Salmon’s boyfriend. Susan Bovell brought out the comedy in this dark story with her bad-mother act and stirring issues within the family. Her portrayal of Lynn was a great fete.

    The set, designed by Ana Inés Jabares-Pita, really was the highlight for me with chalk becoming luminescent and the ingenious mirror effect, so it looked as though Susie was looking down from heaven as the scenes unfolded.

    Running: 30 October – 10 November 2018

  • THEATRE REVIEW | Company, Gielgud Theatre, London

    ★★★★☆ | Company

    The stage legend that is Patti Lupone is gracing London’s West End with her presence in a new revival of Stephen Sondheim‘s Company.

    Lupone is not just a star, she is a STAR, having played Evita in the first New York City production in 1979 (Elaine Paige was the first Evita in London’s West End in 1978).

    In Company, Lupone is not actually the star and lead of the show, but every time she is on stage the audience seems to gasp and hold their breath.

    But Company is not at all about her character (an older wiser woman who doles out advice), it’s about Bonnie (played by Rosalie Craig, recently seen in the mega-critically acclaimed The Ferryman), who seems to live in a world full of couples (and of course in this modern society one of the couples is gay). All of her friends are in a relationship, but it’s her, who at her surprise birthday party (which is not really a surprise as someone tells her about it) at the tender age of 35), that she realises that she is single and alone in a couples world.

    Originally a musical about a single man (Robert), showcasing a single strong professional woman is just the message that is needed right now in this #metoo time.

    While Bonnie trots along, there are clever sets (by Bunny Christie) that float in and out of the stage like picture frames. And a scene-stealing moment takes place when, right before his gay wedding, Jamie (a superb Jonathan Bailey – give him his own show NOW), starts to hyperventilate and talk 100 miles a minute as to whether he will go through his wedding – it’s a brilliant turn.

    But the show stealer is none other than Patti Lupone; when she sings the classic ‘The Ladies Who Lunch’ you just want to lick your lips and savour each second. Sitting on a cocktail chair, she sings absolutely delicious, and when she says “I’ll drink to that,” you just want to melt. For me, her song is the most memorable part of the show, and it is an absolute gem.

    Marianne Elliott’s production of this 1970 show is as modern and up to date as possible, but please, more more more Lupone next. Here’s to the lady who steals the show!

    Company plays at the Gielgud Theatre until March 2019, Book tickets now (with no fees)