Formed in 1996, the St Petersberg Classic Ballet is currently in the midst of their first ever UK tour, bringing an abundance of classically presented ballet and a trio of traditional tales; The Nutcracker, Giselle and Swan Lake. ★★★
Tag: Theatre Tour
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THEATRE REVIEW: Chitty Chitty Bang Bang West Yorkshire Playhouse & National Tour
Ian Flemming’s fantasmagorical story of Chitty Chitty Bang Bang comes to life on stage this year at West Yorkshire Playhouse, bringing with it everyone’s favourite “Toot Sweets”, banging about with “Me Ol’ Bamboo” and, of course, taking off with the fantastic flying car. ★★★
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Four Essential LGBT Plays… That Happen To Be Touring The UK
As the nights start to draw in, what could be better than heading to your local theatre and seeing a show which will entertain, make you laugh, stir your emotions and make you think?
There are plenty of blockbuster gay themed plays out there which are currently touring the UK (Priscilla, Queen of the Desert is still on tour, and Tipping The Velvet is soon to be heading from the West End to Edinburgh), but there are some excellent plays out there that are written, performed and produced by people with a real passion for their story, or a personal tale to tell.
Wherever you are in the Country, one of these plays should be near you soon and are well worth a look.
Miss Nightingale – The Burlesque Musical
In the midst of the Second World War, Maggie is a cheeky Northerner who heads to London with her Jewish friend and songwriter, George, seeking out the bright lights and success of the big city. Her burlesque act is picked up by Sir Frank Worthington-Blythe who turns Maggie into the toast of London. But behind the scenes, there is something far more explosive than the blitz which is about to start. Frank and George fall in love and conduct a secret (and illegal) affair, which strains the relationship between the three of them.
Miss Nightingale is currently embarking on its fifth and final tour of the UK, having been a huge success with critics and audiences alike. The love story between the two men is touching, sad, poignant and moving, and the pathos is balanced with some hilarious, cheeky and saucy songs as Miss Nightingale takes to the stage with her unique brand of entertainment. But despite the historical setting, the play still remains relevant today, where there is so much persecution of the LGBT community in various countries. However, alongside its genuinely important message, the show is a superb evening at the theatre, which will entertain, make you laugh, make you cry and make you leave the theatre on a high. Don’t miss your last chance to see this wonderful production.
Miss Nightingale is currently on tour, visiting numerous locations until the 20th February 2016 , including Cast Theatre in Doncaster; Sheffield Theatres; Norwich; Hull and Blackpool. Visit www.missnightingale.co.uk for full details. You can also read our interview with Matthew Bugg, the writer and composer of the show
DV8 – West Yorkshire PlayhouseDV8 are one of the most cutting edge dance companies out there and thoroughly impressed The Gay UK last year with their piece, John. In this stunning piece of dance, DV8 not only focus on the central character, John, and his reasons for having sex with men, but also unflinchingly examines why men may or may not take risks with their sexual health, telling their stories without judgement or prejudice. The piece is based on interviews conducted with men at a gay sauna, and as the creators of the show undertook their research, one particular story emerged to the forefront. TGUK writer Greg Mitchell was impressed by the choreography, saying that “one of the joys of this production is seeing the way bodies fuse together, meld into one and then just as easily drift apart” and that the piece as a whole was “endlessly fascinating, but ultimately incredibly moving”. But this piece delves much deeper into John’s past and unravels his turbulent and difficult history and the show promises to be a visual treat.
DV8 are performing this piece at West Yorkshire Playhouse, their only tour date, on the 22nd to the 24th October 2015. Don’t miss this rare opportunity to see a stunning piece of theatre. Tickets and details can be found at www.wyp.org.uk/events/john/Big Girls Blouse – Cast Theatre, Doncaster and National TourPart cabaret, part biography and part political statement, Big Girls Blouse is performed by Kate, a transgender woman who delights in her gentle and subtle political performances, telling her story of growing up and becoming a woman. Quite literally making a song and dance about her life, Big Girls Blouse is an award winning show which pushes boundaries, educates, encourages solidarity for the transgender community and manages to do it all with a good dose of the celebration of diversity to break down both barriers and stereotypes.
This is a show which deserves a wide audience and is a perfect example of how theatre can be used to entertain whilst getting across a powerful message.Big Girls Blouse is currently touring calling in at various venues around the country until 14th May 2016. For further details and to book tickets, visit www.kateodonnellpresents.com
Nine Lives – Doncaster Cast and National TourIshmael is a young man who is seeking asylum in the UK following a surge in homophobia in his home in Zimbabwe threatens his life. As he arrives in Leeds, he is forced to re-start his life. Knowing no-one and being an a totally alien environment, he waits in desperation to find out whether the first steps he has taken to rebuilding his life will have been all for nothing if he is to be returned to Zimbabwe or whether he is able to find peace and love in a place which protects him as a gay man.
The topic of people seeking safety through asylum has been at the forefront of the news in the last few weeks and with homophobic attacks and the repression of the LGBT community in various countries around the world, this play hits home with the relevance of its political message. Written by Zodwa Nyoni, Channel 4’s writer in residence in 2014, this play injects wit and lightness into a difficult and challenging subject and following critical acclaim following its premiere at West Yorkshire Playhouse earlier this year, the show is now on national tour.
You can see Nine Lives at the following venues. Contact your local theatre for details and tickets12 October 2015 – The Bikeshed Exeter, Exeter17 October 2015 – Trinity Bristol, Bristol
23 October 2015 – The Cube, Malvern
06 November 2015 – Upstairs at Western, Leicester
12 November 2015 -Cast, Doncaster
16 November 2015 – Waterside Arts Centre, Trafford
19 November 2015 – Arc Stockton, Stockton on Tees
10 December 2015 – Brighton, Brighton
January 2016 – Arcola, London
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THEATRE REVIEW | The Curious Incident of the Dog in the Night-Time – Sheffield Lyceum & National Tour
Christopher Boone, a 15-year-old boy, discovers that his neighbour’s dog, Wellington, has been killed by someone (the poor dog having been stabbed with a garden fork), and sets off to find out who the culprit is. ★★★★
But Christopher has Asperger’s syndrome, which makes his perception and functioning very different to other boys his age and as the truth behind Wellington’s death starts to be revealed, it leads Christopher to embark on a remarkable adventure.
The show is based on the hugely successful book by Mark Haddon and has been a West End and Broadway hit. Utilising a virtually empty stage, the presentation of the show was intriguing, using screens on the back and sides of the stage, almost framing the show in a cube, reflective of Christopher’s constraints in his functioning. Lights flicker like the firing of neurons in his brain, and black and white projections are used to show both his thought process and to set the scene. The show, like the book, is written from Christopher’s point of view and the presentation effectively places the audience members squarely into the centre of his mind and thoughts. The simplicity of the set is reflective of the way in which Christopher perceives the world and worked very well. There were pieces of carefully choreographed movement throughout, and the scene where Christopher arrives in London and is overwhelmed by the overstimulation of his environment is superbly done. In this show, less certainly is more, and the monochrome set nicely mirrored Christopher’s rather binary thinking.
But placing the style and presentation to one side, the most impressive aspect of the show was the outstanding performance of Chris Ashby. Ashby’s portrayal of Christopher Boone was stunning – mixing the complexities of the characters personality, his physical traits and a childlike innocence which combined to provide a rounded and believable performance. It was up there with some of the best performances I have ever seen in the theatre. Surely big things must beckon for this young man. The other standout performance was provided by Stuart Laing, as Ed; Christopher’s father. The scenes between them were particularly moving and touching, and showcased two incredibly talented actors.
The show is beautifully written, with a script which imports large chunks of text from the book to provide a faithful adaptation of the source material and was filled with gentle humour and a myriad of characters that come in and out of Christopher’s life. But the show also has beautifully crafted moments of dramatic tension and emotionally powerful scenes which captivated the audience completely.
The show has won a slew of awards, including 7 Olivier Awards and 5 Tony Awards, and it is easy to see why. There is a lot of depth to the play, exploring the adult world of interpersonal relationships through a simplistic and innocent perspective. It is one which has stayed in my mind in the days after seeing it.
The Curious Incident of the Dog in the Night-time is currently playing at Sheffield Lyceum Theatre until Saturday 26th September 2015 (www.sheffieldtheatres.co.uk) before continuing on its national tour until 26th November 2015. For further details, visit www.curiousonstage.com/
By Paul Szabo
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THEATRE REVIEW | Matthew Bourne: The Car Man
★★★★★ | Matthew Bourne: The Car Man
Set amongst the Italian-American community in a small town in 1960’s America, Matthew Bourne’s The Car Man reimagines Bizet’s most popular Opera, Carmen, in a more contemporary setting.
Luca (Tim Hodges) is a drifter, whose charisma immediately draws the attention of Lana (Zizi Strallen), the wife of Dino, Luca’s boss. They embark on a passionate affair, but Luca catches the eye of Angelo, a young mechanic who is bullied by his contemporaries and who is irresistibly drawn to the stranger. In a heady mix of violence, murder, sex, passion and revenge, Luca’s arrival sets off a cataclysmic chain of events.
The overall feeling of the piece is one of grimy, seedy sensuality, with more scantily clad dancers, muscular, sweaty torsos and bulging biceps than you could reasonably expect and an abundance of sexually charged encounters, which abandon the usual constraints of sexuality. The main protagonist, Luca, is clearly comfortable in his attraction to both sexes and his passionate encounters with both Lana, his boss’s wife, and Angelo, the young mechanic, demonstrate both his irresistible allure and his self-serving manipulation of others. The other townsfolk are equally as liberal, where the fluidity of sexuality mixes in with the testosterone-fuelled masculinity of the mechanics and their blend of both fiery and submissive girlfriends. This is a gritty world, where sex, rough handling and casual violence are compounded by the intense heat, and one which comes across superbly in the theatre. It is also a world where the levels of sexual tension and dramatic tension are evenly matched. This is not just a straightforward narrative piece, it is a piece that delivers a genuinely enthralling story, pulling you in early on, and not releasing its taught grip until the final curtain falls.
Whilst using what is effectively an abridged version of Bizet’s score, Bourne cleverly utilises the most identifiable pieces and surrounds them with original music, making the accompanying score simultaneously familiar and fresh. Further inspiration comes from Bizet’s opera, but never in such abundance that this production becomes a re-tread. For me, Luca was Carmen, and switching the sex of the central character was an inspired choice, but that doesn’t stop the other characters, Lana in particular, from taking on the mantle of Carmen at different junctures in the story.
The cast were universally on form, tightly choreographed and performed incredibly, injecting each of their roles with uniqueness and filling the stage with an energetic and boundless performance, where the character was as important as choreography. Tim Hodges was as charismatic as the character he portrayed, and Angelo’s transformation from naive teenager to vengeful young man was superbly handled by Liam Mower. The set, crystal clear music and lighting only served to make this production the whole package. The Car Man is a simply stunning piece of theatre and could easily sit as this generations West Side Story.
Sultry, sexy and sensual, you would be hard pushed to find a better blend of dance, drama and passion.
The Car Man is at Sheffield Lyceum until 27th June 2015, before moving to Sadlers Wells Theatre, London until 9th August. -
THEATRE REVIEW | The Boy In The Striped Pyjamas, The Belgrade Theatre, Coventry And UK Tour
★★★ | The Boy In The Striped Pyjamas, The Belgrade Theatre, Coventry And UK Tour
Set in Auschwitz, the show follows the developing relationship between two nine-year-old boys on opposite sides of the fence.
Having read the book and seen the film due to my morbid fascination with the Holocaust and this general period in our recent history I was delighted to see The Boy In The Striped Pyjamas was coming to the stage.
Being a touring production the set and staging was basic but magnificently executed giving the audience the real sense of the austerity of the concentration camp. The old typewriter being projected on the back screen was an excellent effect adding to the ambience of the piece.
Whilst I applaud the young actors in terms of the amount of lines they had to learn, I did feel they failed to connect with the audience for two reasons – diction and projection. Much of the dialogue was lost because the voice volumes were so low and were also lost in the regional accent.
This was not the case throughout as sometimes the young actors did explode into full on stage school mode, which was not appropriate for this subject matter.
Helen Anderson shone as the Grandmother; her singing in German was most definitely my highlight, as was her acting masterclass.
The closing of the show lacked the poignancy of the film and for me should have finished at the closing of the gas chamber doors allowing the audience to draw their own conclusions, the additional narration was just unnecessary.
Whilst not a 5 star show, it was a very affable afternoon and I would recommend, especially if you have not read the book, seen the film, or like myself have researched the Holocaust in minute detail.
Pleasant not award winning.
Touring Nationally, for tickets visit http://www.theboyinthestripedpyjamas.com/tour-dates.php
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THEATRE REVIEW | Putting On The Ritz National Tour
As someone who was raised on a diet of the films of the golden age of Hollywood and classic MGM Musicals; and as someone who finds a full on show-stopping musical dance break hard to beat, the lure of a musical revue of the songs of George Gershwin, Irving Berlin and Cole Porter proved hard to resist.
Putting together a collection of some of the most timeless and well-known songs, including “Puttin’ On The Ritz”, “Top Hat”, “Let’s Face the Music and Dance”, “I’ve Got My Love to Keep Me Warm”, “Anything Goes” and “I Got Rhythm”, the soundtrack was top notch and a real demonstration of the enduring appeal of these masterfully written slices of perfection. There was a pleasant spread of songs, taking into account the upbeat numbers, but also slowing the pace with some ballads, including “Someone To Watch Over Me”. There were a few odd choices – a rather over the top performance of “Summertime”, a couple of instrumental songs which really should have been sung (“Cheek to Cheek”) and a few absent favourites, but overall, with such a vast catalogue to choose from, there was a good spread of the well-known and seldom heard.
Despite the staging being fairly bland; an unimaginative glittery set, a backdrop curtain with a cascade of fairy lights and a rickety staircase; the numerous costumes changes came thick and fast, with enough sequins, feathers and glitz to satisfy even the hardiest of ‘Strictly’ fans. Lighting and direction was fairly functional, but the choreography was fast paced, upbeat and a good mixture of ballroom, jazz, tap, swing and Charleston, performed in a rather polished fashion.
The low quality production values aside, the cast performed competently albeit with an abundance of fixed grins. The six vocalists were able to give the songs enough joie de vivre to do them justice, with the three male vocalists eclipsing the female trio. Trent Whiddon and Gordana Grandosek (from ‘Strictly Come Dancing’) were rather impressive, although criminally underused, making the most of their handful of routines, floating lightly across the stage and making the whole thing look absolutely effortless. The remaining cast of dancers did give it their all and the numbers were well choreographed, building nicely and feeling very playful.
The show is certainly more “cruise ship cabaret” as opposed to “West End spectacular”, but despite its low production values, slightly cheesy feel and constantly grinning cast, the show was foot tappingly entertaining where the stars of the show were the songs themselves. I’m sure that this was never intended to be life changing theatre, but it never pretends to be; and managed to completely sweep up the audience with its charm and its firm footing in the tradition of good, old fashioned entertainment. The running time of just over two hours went far too quickly, making this show a nice little guilty pleasure.
Puttin’ on the Ritz is at Sheffield Theatres until 20th June 2015 before continuing on its national tour, calling at numerous venues around the country until the 14th November 2015. For details, visit the show’s official website.
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THEATRE REVIEW | Shrek, National Tour 2015
★★★★ | Shrek, National Tour 2015
Making the transition from screen to stage is not always easy, especially when you are adapting something as beloved as Shrek.
The tale of the big green ogre rescuing the fair princess on behalf of the diminutive Lord Fardquaad is one which follows the plot of the film fairly closely, albeit with so many songs crammed into the running time, the whole thing teeters on the edge of being a sing through musical.
Like the film, the stage show has a bit of something for everyone, with a script which is packed full of kid friendly comedy but with enough one liners and near the knuckle jokes to keep the adults more than entertained, nowhere more evident than in every second of stage time held by Lord Faquaad. Gerrard Carey was just outstanding as the vertically challenged monarch-to-be, and gave a deliciously camped up performance which was quite frankly hilarious. Look up the definition of “scene stealer” in any theatrical dictionary and you should find his picture. Dean Chisnall’s portrayal of the grumpy ogre was suitably downplayed, but his powerful voice was simply incredible as he belted out the songs.
But it wasn’t just the performances that made this show, it was the whole package. For a touring production, the staging was incredible, utilising a slew of techniques to bring the tale to life in a way which far exceeded expectations. The set was beautifully put together, lavish and detailed, the lighting was well designed and the costumes and make up were stunning. The show pads out the backstories of the main characters a little, but equally allows the supporting cast to all get their turn, and with such a strong line-up, it would have been criminal not to.
Where the show doesn’t quite peak is in the songs themselves.” I Got You Beat” was a neat take on the courting songs of Irving Berlin, “What’s Up, Duloc?” was an upbeat big production number and “Morning Person” was a Bob Fosse inspired tap dancing routine. When coupled with the visuals of the set, the choreography and the polished delivery, the actual numbers were are all perfectly amiable and got the feet tapping. However, they were ultimately pretty forgettable; and whilst they certainly work on stage, most audience members left the theatre singing the 1966 hit, “I’m A Believer”, rather than humming any of the shows original songs.
Shrek carries with it an air of childhood magic and a theatrical experience which, provided you allow yourself to buy into it, will transport you back to that feeling of being a kid again. It’s a show which is bold, loud, colourful and utterly charming. Whether it was giggling at the occasional spot of toilet humour, laughing at the jokes which go over the kids’ heads, or simply being transfixed by the spectacle of a dragon flying about the stage, Shrek had me smiling throughout the show.
Shrek is currently playing at the Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until 6th June 2015 before continuing on its national tour at various venues throughout the country up to February 2016. Get yourself “ogre” to the tour’s website for full details (www.shrekthemusical.co.uk)
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THEATRE REVIEW | The Full Monty, UK Tour 2015
★★★★ | The Full Monty, UK Tour 2015
In 1997, a film about unemployed steel workers turning into unlikely strippers became the most successful film in the UK (until it was overtaken by Titanic), garnered four Oscar nominations and cemented the phrase ‘the full monty’ into popular culture.
Set in Sheffield, a group of ex-steelworkers with seemingly very little in common, other than their unemployment, band together in a get rich quick scheme, whereby they plan to rival The Chippendales by becoming strippers and giving the audience a little something extra – by going all the way. Gary, needs money as he is on the cusp of losing contact with his son, overweight Dave has a big body image problem, Horse has a rather (ahem) “small” problem and Loomper has his own secret hidden in his closet. But despite their unlikely sex symbol status, the whole community waits to see whether they really will go ahead with their scheme and whether they will go the full monty.
Not to be confused with the musical version of The Full Monty, which was produced in 2000, this version is a straight play, which forgoes thin plot and thinner characterisations which simply link musical numbers, and instead provides a play with heart, rounded characters, a genuinely funny script (particularly in the second act) and, of course, the ending that the predominantly female audience were waiting for.
Despite a few rather dubious Sheffield accents (you can’t fool the home crowd, you know), the cast worked well as an ensemble. Andrew Dunn (“Dinnerladies”) and Louis Emerick (“Brookside”) provided the better performances of the evening; both with effective yet understated performances, whilst Gary Lucy (“Eastenders”) provided the eye candy.
The show is beautifully written by Simon Beaufoy, who wrote the original story and received an Oscar nomination for his screenplay for the film. The story of the play very closely mirrors that of the film itself, with all of the key plot points, pivotal scenes and music being extrapolated, but despite the running time of the play being approximately 40 minutes longer than the film; it never feels like it is padded out. What does come across much more in this production is the social commentary hidden beneath the comedy and narrative and there is a real balance between the humour, sadness and optimism portrayed. Despite the characters initial differences, there is a genuine feeling of friendship which permeates the play, accompanied by a strong sense of family, loyalty and acceptance.
Overall, the show remains a feel-good, funny and enjoyable show, which I have to say I enjoyed much more on second viewing, and the whoops of delight by the time the curtain fell proved it was a real crowd pleaser.
The Full Monty is currently playing at Sheffield Theatres until the 23rd May 2015. For information and to purchase tickets visit www.sheffieldtheatres.com.The play is taking a break over the summer, but will be embarking on another national tour in the autumn.
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THEATRE REVIEW | Crouch, Touch, Pause, Engage – National Tour
★★★★ | Crouch, Touch, Pause, Engage – National Tour
Gareth Thomas is one of the most successful rugby players ever to take to the field for his country. But in the testosterone filled world of professional rugby, he hides the fact that he is gay, causing him to engage in a secret double life and bringing him to the brink of suicide. But equally, his hometown of Bridgend in Wales is also a place of sadness, as a spate of teen suicides blight the small, close-knit community. Crouch, Touch, Pause, Engage tells the story of both Gareth Thomas and his struggle with his sexuality and the story of two teenage girls from Bridgend, each battling with their own issues.
Set on a stage resembling a locker room, and utilising only the simplest of props and costumes, each of the six-strong cast played multiple characters and morphed seamlessly from one to another, including each taking turns to play Thomas himself, as they recounted the two intertwined stories. Told in a verbatim style with the script primarily delivered in a direct address to the audience, the writing of Robin Soans had a very natural feel as it was conveyed by the cast, leading to characters who were accessible, felt familiar and who were instantly likeable. From the cast, Rhys ap William and Daniel Hawksford stood out the most, with both delivering solid performances in their various roles. Taking the audience through a number of ‘crisis points’ in both stories, there were a couple of points during the play where I felt myself welling up; but interestingly enough, it was a real shame that the moment when Thomas comes out to his parents was not handled particularly well by Katie-Elin Salt, leaving such a pivotal scene feeling flat and slightly awkward despite the best endeavours of the other cast members.
The play draws parallels between the personal struggles of Thomas and the young people of Bridgend, demonstrating that even those considered heroes have their personal demons; and showing young people that they are not as isolated or alone as they may think. Dealing with a number of sensitive topics, the play handles them well, and draws a genuine emotional reaction from the audience as well as providing food for thought on many levels, whether that be empathising with the characters or their families on stage or reflecting on their own experiences and emotions.
Crouch, Touch, Pause, Engage is thought provoking and emotional, with an undeniably strong message of hope and positivity.
Crouch, Touch, Pause, Engage was reviewed at West Yorkshire Playhouse (www.wyp.org.uk ) and is continuing on its national tour, details of which can be found at http://www.outofjoint.co.uk/production/crouch-touch-pause-engage. You can also read our interview with Gareth Thomas about the production.
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THEATRE REVIEW | Barnum, UK theatre tour 2015
★★★ | Barnum
Cameron Mackintosh’s new production of Barnum charts the rise and rise of one of America’s most famous showmen, Phineas T. Barum, whose showmanship and panache for the spectacular led him to become one of America’s richest men. Starting off with a small sideshow, brick by brick he builds his entertainment empire into the greatest show on earth, whilst all the time being supported by his patient and understanding wife. The balance between his dreams and her grounded reality are evident, but his love is tested when he meets beautiful opera singer, Jenny Lind.
Barnum, as a show itself, is perhaps not best remembered for its storyline, which is thinner than the usual musical; nor for its particularly memorable songs. The show itself is a fairly episodic affair, with the set pieces being broken up by scenes, mainly between Barnum and his wife, which carry the narrative. However, what this production will be remembered for is an absolute abundance of colourful, joyful energy during the big numbers, assaulting the senses with rousing singing and spectacularly choreographed routines. Filling the stage with a plethora of circus skills, including tumbling, ribbon work, silks, tightrope waking and balancing, there is no denying the fact that this is a performance which has been polished to within an inch of its life.
Playing very much to his strengths, Brian Conley won me over in his performance as Barnum, as his wry smile and casual banter with the audience kept him just on the right side of being the confident, consummate showman; both as the character and in himself.
Whilst this may have been Conley’s show, he was supported by a large and talented cast, including Linzi Hateley, Kimberly Blake and Landi Oshinowo, a packed out ensemble of very talented dancers and circus performers and a live orchestra. The scale of the production is impressive and it is clear to see the budget, quality and experience behind the production itself, with not only the visuals being bold, brash and ballsy, but in also the technical presentation of the show being wholly impressive, nowhere more evident than the superb lighting designed by Paule Constable.
With its colour, vibrancy, sense of fun and its full throttle energy, Barnum may well be very much style over substance; but the style it has is undeniably top notch.
Barnum is currently playing at the Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until Saturday 11th April 2015, before continuing on its national tour (www.barnummusical.com) calling at Leeds, Milton Keynes, Liverpool, Plymouth, Southampton, Canterbury, Birmingham, Salford and Cardiff.