Tag: UK

THEATRE REVIEW | The Boys In The Band – West Yorkshire Playhouse, Leeds

★★★★| Set in Brooklyn in the late 1960’s , nine gay men gather in an apartment to celebrate a friends birthday. Michael is an alcoholic shopaholic, Harold is a self-depreciating “Jew Fairy” (as he describes himself), Larry and Hank are a couple trying to make their differing views on monogamy fit together and Emory is as camp as they come. Throw into the mix a rather attractive, but dumb, cowboy hustler, a closeted testosterone filled ex-college roommate and copious amounts of booze and pot, and it’s not long before lives unravel, tempers fray and a cruel party game emerges.

Photo Credit – Darren Bell

This long overdue revival of Mart Crowley’s classic play is most welcome, and whilst it is no longer as shocking as it was in the late 1960’s, the relevance and impact still resonates today; as, sadly, do the undertones of self-loathing and internalised homophobia. The range of characteristics on show from the main protagonists may seem slightly cliché now, but still manage to reflect a number of the sub groups within the gay community and the issues facing them. The first act is a rather whimsical affair, as the characters arrive and you get to know them, but as the second act progresses, the narrative takes a darker turn, leading to a gripping dénouement.

The cast is strong all round, with solid performances from the ensemble, particularly Mark Gattis (Sherlock, Doctor Who) puts in an effortless performance as Harold, filled with subtlety and natural aloofness. Ian Hallard (Poirot, Doctors) holds the cast together as Michael, and James Holmes (Miranda, Psychoville) is delightful as Emory, brimming with campery and confidence. And whilst Jack Derges (Andy Flynn in EastEnders) is a vision of physical perfection, he proves he is much more than the token eye candy with an enjoyable performance as the dim witted (and mostly shirtless) cowboy hustler.

The set is authentic and beautifully detailed, as are the costumes, but even though the fashions and décor have altered, the issues raised have not; and whilst some of the social impact of the play may have lessened with time, the personal impact hasn’t, and the gay audience will recognise aspects of themselves, their peers and their experiences amongst the events of the evening.

With some sharp one liners, genuine emotion and some top notch performances; don’t miss your last chance to see this this excellent revival before it ends its run. The Boys in the Band is playing at West Yorkshire Playhouse, Leeds, until Saturday 19^th November 2016. See www.wyp.org.uk for details.

16th November 2016
RESTAURANT REVIEW | Rudie’s Jamaican

★★★★ | Rudie’s – Great Jamaican food in hip Dalston!

Rudie’s offers what they call a ‘Boss Burger’ – a rare breed of beef chuck patty that is topped with apple wood smoke cheddar, sweet honey mustard, red onion, tomato, pickles and jalapeño chilli – and it’s huge – worth the £12 price. My dining companion ate the whole thing.

Sides were a must to have, and it was the Avocado and Mango Salad that was the best dish of the night. A snip at only £4.25, it’s a big bowl of fresh avocado and mango with dices of onion and tomato in a very nice vinaigrette dressing. Amazing. The Sweet Plantains were also amazing – at £3.00 a great deal – topped with a hint of sugar to give them a sweet flavour.

Desserts are recommended after your meal but they’re very small! I had the Rum Cake expecting a nice portion, but it was quite a small, perhaps the size of the palm of a hand. It was sprinkled with berries and almonds and a syrup sauce, and came with ice cream, but it left me wanting more! My friend had the Banana Brulee, it has a nice crust and underneath the coconut custard créme was heavenly, but again a bit on the small side. Both were £5.50.

It’s all about exotic drinks when going to a Jamaican restaurant, and Rudie’s does not disappoint! There are 10 delicious sounding cocktails to choose from, and while we didn’t have all 10, we did order the ‘Jamaica Nice’ – a nice smoothie with almond syrup, lime, nectarine, rum, with a huge slice of pineapple – it’s as delicious as it sounds! My friend ordered ‘The Colony’ – another rum cocktail that included brandy – he said it was smooth going down. All ten cocktails are priced at a very friendly £8.50 each.

The bill for the meal came to £80 – not too bad considering all the different types of food we ate, coupled with the drinks. Rudie’s is a great place to eat, with large windows so you can watch the passing trade walk by. Service is wonderful, and they’ve been in business for just over a year. With Dalston becoming the hip place to live, Rudie’s will most definitely live up to a similar mantra – it will be the hip place to eat.

Reviewed by: Tim Baros

Telephone: 0207 249 9930

Address: 50 Stoke Newington Road N16 7XB

Opening hours:

Mon – Wed: 18:00 – 22:00

Thur: 12:00 pm – 22:00

Fri – Sat: 12:00 to 23:00

Sun: 12:00 – 22:00

PRICE: ££ (explained)

STAR: ★★★★ (explained)

14th November 2016
Savage who murdered PC he met on Grindr and dissolved his body is found guilty of murder

The man who murdered a police officer and then disposed of the body by horrifying means is found guilty of his murder and will be sentenced next month.

A man who killed a serving police officer he met on Grindr has been found guilty of his murder and disposing of his body by dissolving it in acid and other horrific means will be sentenced next month.

Stefano Brizzi, 50, went to great lengths to dispose of 59-year-old Gordon Semple, by dismembering him and getting rid of him in a manner which “amounts to cannibalism”. Police investigating Semple’s death also revealed that they found “a number of bottles of chemicals scattered over the hallway floor and in the bathroom,” when they arrived at Brizzi’s address.

CREDIT: Metropolitan Police

On Friday, 1 April, Gordon Semple, who dedicated 30 years of his working life to the police, was on duty and had been at a meeting in London Bridge. Phone evidence has shown that at just after 14:00hrs that day he used the dating app Grindr to arrange to meet Brizzi for sex at his south London flat.

That afternoon Brizzi strangled Gordon Semple to death and over the following week set about systematically disposing of his body in a bid to either avoid being caught or ensuring that Gordon could never be identified.

In a statement released to the press Detective Chief Superintendent Peter Ayling said,

“Fuelled by drugs, Stefano Brizzi murdered Gordon and then set about systemically disposing of his body, the detail of which is quite frankly distressing to read and hear.

“The investigation has evidenced the sickening lengths that he went to dismember Gordon and dispose of his remains, not just in the immediate aftermath of the murder but over the days that followed, and amounts to cannibalism.

“Brizzi clearly and coldly laid a false trail by contacting Gordon on Grindr five days after he himself had murdered him and weaving a fictious account of what took place that afternoon.

“Brizzi was unaware that Gordon was a police officer and the investigation has proved that the two men had never met before. Only Brizzi will know the reasons why that day he became a killer.”

SHOCKING DETAILS

Detective Chief Superintendent Peter Ayling continued,

“The details of Gordon’s murder have shocked and traumatised his partner, family, friends and colleagues.

“The responding officers and all those involved in the investigation into Gordon’s death have been affected by it, made all the worse by knowing he was a colleague. It is a testimony to their professionalism that Brizzi has been convicted.

“Sadly, it is clear from the investigation that Gordon, a man who had dedicated the last three decades of his life to policing London, was behaving on duty in a way that no police officer should. Gordon held a position of trust, and he broke that trust.

“However, nothing should distract from the actions of Stefano Brizzi and the blame for Gordon’s death lies firmly with this man. A killer whose cold calculated actions are so grotesque they are beyond comprehension. Nothing will bring Gordon back, but I hope that the verdict will help all those who loved and cared for him; who considered him a friend and who worked alongside him to come to terms with how they feel and start to move on.”

GRINDR

The investigation by the Met’s Homicide and Major Crime Command established that both Gordon and Brizzi routinely used Grindr to meet like-minded men for sex and drug use.

Over the 24 hours prior to Gordon’s murder, Brizzi was using Grindr to chat to men and invite them to his flat, his messages show that he was getting increasingly frustrated during this time as people failed to show up. He had been taking drugs and had been awake all night.

Two hours after Gordon had arrived at the flat he continued to use Grindr to invite other men to join them whilst Brizzi’s own messages clearly showed he was becoming less interested in what was happening.

The last message that Gordon sent that day was at 19:04hrs. Only 20 minutes later a call to Gordon’s mobile went unanswered – Police believe by then he was dead.

In evidence, the prosecution outlined that Brizzi’s motive was unclear, but he told one of the responding officers that despite not knowing him he simply did not like Gordon.

DEVASTATED FAMILY

A statement on behalf of the family of Gordon Semple said,

“Gordon was a loyal and much loved long term partner, brother, brother in law, uncle, cousin and friend to all.

“We were devastated when the news broke of Gordon’s murder and the circumstances which are still incredibly hard to deal with. It is still insurmountably upsetting.

“At Gordon’s funeral we met many of his friends and work colleagues – we were proud to hear how fondly they thought of Gordon.

“Gordon will be sadly missed by our family. Gordon we miss you so much, may you rest in peace.”

14th November 2016
THEATRE REVIEW | An Inspector Calls, The Playhouse Theatre

★★★★★ | An Inspector Calls, The Playhouse Theatre

CREDIT: Mark Mark Douet

J.B. Priestley’s 1940s play An Inspector Calls had languished somewhat until Stephen Daldry’s (The Crown, Billy Elliot, The Hours) landmark 1992 production.

The piece was much loved by amateur dramatic societies and small regional theatres, in part due to its seven-person cast and one room staging. Daldry’s revival, almost 25 years ago, at The National Theatre, gave the play a fresh lease of life with a radical new staging and a dramatic set design by Ian MacNeil. Now restaged again in London at The Playhouse Theatre, after long-running regional tours, this stylish and evocative revival is still feeling as fresh and pertinent as it did in the 90s.

In 1912 the wealthy upper middle-class Birling family are celebrating their daughter’s engagement to the son of a prominent family. The evening in their dining room in Bromley is interrupted by the arrival of Inspector Goole who tells them of the death of a young woman by a particularly gruesome suicide. The family are at first irked by the intrusion on their celebrations but gradually come to see that they each had a role in bringing about the woman’s downfall.

The stage is dominated by a giant dolls’ house raised high above the stage. This has to be one of the most breathtaking stagings of the last few decades. To describe the workings of the set would ruin the surprises but needless to say, it’s a clever design that enhances and doesn’t swamp the play’s message. Even though the smaller stage of The Playhouse feels a little cramped for the production, it’s still powerful and atmospheric. The cast are strong, and special mention must go to the excellent Barbara Marten as the monstrous Sybil. She imbues a touch of high camp without detracting from the horror of her snobbish coldness.

Can a revival of a play from seventy years ago, about a family from a hundred years ago still speak to today’s audiences? The answer is a resounding yes. The theme is self-interest, prejudice and how people use others weaker than them to get ahead. With recent world events and the scary rise of far right wing politicians, it couldn’t feel fresher. Or more chilling.

Follow Chris Bridges on Twitter

An Inspector Calls plays at The Playhouse Theatre

13th November 2016
Yep. Those Christian bakers are going to appeal. Again

They aren’t giving up. Those Ashers Bakery owners are now going to appeal to the UK’s highest court.

Despite two court rulings defining their decision not to bake a “gay cake” as discriminatory and unlawful, Ashers Bakery owners, the McArthurs, are appealing to the UK’s Supreme Court according to The Evening Standard.

Gareth Lee the LGBT activist who initially ordered a cake in 2014 which bore the inscription “Support gay marriage” had his order denied by the company whose bosses cited that the “order was at odds” with their beliefs. They added that the supportive message was “in contradiction with what the Bible teaches.”

An original court case found that the bosses had acted unlawfully. District Judge Isobel Brownlie ordered the firm to pay damages of £500 after ruling that religious beliefs could not dictate the law.

Last month judges at the Court of Appeal upheld the original judgement. However, the family behind the bakery is not satisfied and the family’s legal team have written to the Appeal Court judges in Belfast, “to consider giving a short ruling on the question of whether (an) appeal to the United Kingdom Supreme Court is available in this case”.

The McArthurs have insisted that the issue was never with Mr Lee’s sexuality, but with the message that he had requested on the cake.

11th November 2016
THEATRE REVIEW | Pride and Prejudice, The Birmingham Rep

★★★★★ | Pride and Prejudice, The Birmingham Rep
CREDIT: Johan Persson
Masterfully personifies Austen’s work of art.

I remember reading Pride and Prejudice in my early teens, and recall falling in love with characters and the way they came to life on every page. Last night, Simon Reade’s stage adaptation delivered the feeling of nostalgia and I couldn’t help but fall in love again.

It is quite rare to see a cast where every character, minor or major, stand out equally, and contribute superbly to every scene they are in. This was true of Pride and Prejudice. I was blown away by the humour, the tension, and the vulnerability that every actor was able to portray throughout the production. Matthew Kelly did a sterling job as Mr Bennet, with his on-point comedic timing and powerful voice that rippled through the auditorium. The shining actor was Felicity Montagu who played Mrs Bennet, and what a sensation she was. Felicity was the true embodiment of the role and from minute one she had you in stitches. The dour portrayal of Mr Darcy by Benjamin Dilloway was accomplished and perfect for the character, showing Benjamin’s versatility, for his change of mood when he confesses his love to Elizabeth Bennet was more heartfelt and the audience were drawn in. There were some ‘awwws’ when he professed his true feelings to Elizabeth. Elizabeth Bennet, portrayed by Tafline Steen, was a whirlwind. Headstrong, charismatic, un-lady like, and the Elizabeth I envisioned when I first read the book. This was a typical feeling I had, as every role was expertly crafted to suit the novel, making it a magical experience for the Austen aficionados. Doña Croll’s Lady Catherine De Bourgh was a sensation and the epitome of the high class of the era. Her characterisation was composed, edgy and a little on the dangerous side.

The set, as well as the props and effects, transported the audience into the early 1800s where ‘things’ were seen of more value than people. Gossip and hearsay were a constant pleasure manifested in the society of the era, and Austen did a brilliant job capturing it. Simon Reade outdid himself by introducing to us the story we cannot help but go weak at the knees at every time.

I was so impressed by the energy and enthusiasm shown across the production that I want to see it again and again, and haven’t stopped recommending Pride and Prejudice to friends. Perhaps that is why there are scarcely any seats left!

Pride and Prejudice plays at the Birmingham Rep until 12th November

10th November 2016
THEATRE REVIEW | The HIV Monologues

★★★★★ | The HIV Monologues

CREDIT: Dionysis Livanis

From AIDS to PrEP: Love, Sex & HIV

If you met a moreish specimen of a man on Grindr, in Rupert St Bar or at a friend’s gatherette and there was immediate trouser-twitching, shimmies to the heart department and your thoughts turned towards naming your first pair French bulldogs – but then, after some time into this meet, said hottie informs you he’s HIV positive – do you know how you’d react?

Marking twenty years since life-saving HIV medication was introduced to the UK, Patrick Cash has penned a very real production that will send sparks to your neurons, pricking your nervous system: a trio of scenarios that are entwined together touching on the effects of HIV in the 80s up until the current day.

Alex (Denholm Spurr) – a Labrador puppy intermixed with a male cheerleader with obtuse understanding of the immune-attacking virus – struggles with the idea of being close to someone who’s positive, and barely has enough shrapnel to buy even the smallest tube of lube. The out-of-work actor gets himself into a sticky situation with the truth.

Lack of knowledge inflames fear, but understanding can provoke the guardian in all of us. Irene’s (Charly Flyte) journey nursing AIDS patients is moving and compelling. Barney (Jonathan Blake – one of the first people to have been diagnosed with AIDS in the UK) learns to live with the deficient insight with HIV in the 80s – a convincing performance.

A Thunder Looper of emotions: stigma, humour, shame and love – some well-directed tandem acting by Luke Davies – a challenging subject to cover – executed well.

Two new dates at the King’s Head Theatre as part of their World AIDS Day weekend 20th and 21st November.

8th November 2016
THEATRE REVIEW | Little Shop of Horrors – Sheffield Theatres and National Tour

★★★★| Life isn’t so great at the Mushnik Flower shop down on Skid Row. Mr Mushnik is on the verge of closing his shop, Audrey is dating a semi-sadist dentist and Seymour’s crush on Audrey is going nowhere. But with the arrival of a strange and interesting new plant, things start to change, especially when Seymour realises that the plant, Audrey II, has a taste for human blood. As things start to look up at the flower shop, Audrey II gets bigger and bigger, as does the list of missing people.
Photo Credit – Matt Martin Photography
Written by Howard Ashman and Alan Menken, the songwriting partnership behind some of the biggest Disney films, including The Little Mermaid and Beauty and the Beast, Little Shop of Horrors crams in the musical numbers, including “Somewhere That’s Green”, “Suddenly Seymour” and the title track “Little Shop of Horrors”. With a flavour of do-wop, funk and Motown running through it (even including a down on their luck version of The Supremes); and a bouncy and animated feel to the whole thing, this show is tremendous, kooky fun.

Sam Lupton excelled as Seymour, with a strong, natural vocal performance and a geeky clumsiness; as did Stephanie Clift as Audrey, bringing out the optimistic side of her character whilst maintain her vulnerability. The two leads gel together perfectly, especially with their show-stopping rendition of “Suddenly Seymour” and they are an absolute delight to watch. Romantic leads as good as these two are few and far between. Rounding off the main cast was Rhydian, who played the “slightly” manic dentist, Orin, with enough gusto to keep it his performance just on the right side of caricature, and with his strong operatic voice lending itself to his big number very well. However, the star of the show was Audrey II, the giant plant, who grows and grows and becomes more animated as the story progresses.

This touring production boasts a thoroughly detailed and well-designed set, with a cartoonish feel and an eye for detail. Add to that some clear, crisp and perfectly balanced audio, an effective lighting design and an all-round top notch cast and you have an impressive show which is highly polished.

Little Shop of Horrors has gained a cult following over the years and it is easy to see why. At the heart of it is a love story about a guy who will do anything to get the girl of his dreams. The songs are catchy and feel instantly familiar, the story is undemanding, and the script has plenty of moments to make you laugh.

With a healthy nod to 1950’s B-Movies and a musical mish-mash of styles with everything from Motown to Yiddish Folk Music thrown in there, Little Shop of Horrors is a cracking musical comedy which is pure escapist fun.

Little Shop of Horrors is currently on national tour and details can be found on their website at www.littleshopuktour.com. The show was reviewed at Sheffield Theatres, whose upcoming production of Everyone’s Talking About Jamie opens soon (https://www.sheffieldtheatres.co.uk/whats-on/everybodystalking-jamie)

8th November 2016
THEATRE REVIEW | Peter Pan Goes Wrong

★★★★ | Peter Pan Goes Wrong

If you’re a fan of farce, then this genius gem will slap you round the head, crack your ribs from laughter and leave you with a weaken bladder.

The Mischief Theatre Company are changing the face of comedy in the West End. They already have The Play That Goes Wrong and The Comedy About A Bank Robbery and now they’ve brought back their Christmas pudding, Peter Pan Goes Wrong. They’ve tapped into something that the West End has been missing for a long time. They’re giving us what we need. A laugh and lots of them.

In these politically trying times of neverending referendum headlines, a plummeting currency, a US Presidency election that makes even EastEnders look dull, and don’t even get us started with how Brexit is going to affect us in Eurovision, this theatre company is like a lit candle next to a flammable costume. On Fire.

The Cornley Polytechnic Drama Society are about to put on their Panto (oh no it’s not) and they’re nearly ready, but the audience has arrived for the first night and the show must go on, regardless if all the necessary health and safety checks have been made. The set has been improved for 2016, thanks to a cast buy in of £40,000 and they’ve splashed out on a revolving stage. All is set to be an incredible, critically acclaimed am-dram performance of the evergreen favourite of Peter Pan… Or is it?

The theatre’s electrics are on the blink, the sound recording cues are all wrong, the revolving stage has gone haywire, lines have not been learned, but that’s no barrier to this well-meaning band of merry actors. It’s hilarious.

Christmas has never been so funny. Even that time Dad tried to play charades in a full body cast.

This is exactly the pill the doctor ordered!

7th November 2016
THEATRE REVIEW | F*cking Men

★★★★ | F*cking Men

If you’ve ever heard of the concept of ‘six degrees of separation’ then you’ll already know the theme of Arthur Schnitzel’s classic 1897 play Le Ronde. Couples copulate and the circle goes round with one-half of each couple appearing in the next scene with a new partner and the half of the first couple seen on stage appearing as one-half of the final shagging couple. Joe DiPietro’s updated version of his 2015 play features men f***ing. Lots of them. The three actors take on various roles including a rent boy, a soldier, a Hollywood actor, a married couple and a porn star. It’s a great concept and it actually works.

The dialogue is sharp and witty and the play is by turns grimy, tender and darkly comedic as well as at times, erotic. Men fumble, fellate and f*** (you’d want your money back if they didn’t, wouldn’t you?). The situations are sometimes familiar, sometimes exotic and DiPietro manages to cover a lot of pertinent issues without being dull or preachy. From the young soldier pretending to himself that having his cock sucked doesn’t make him gay to the couple with intricate rules attached to their open relationship (which, of course, they aren’t abiding to); these are situations that are bound to resonate with a gay audience.

A couple of the scenes jar slightly and there’s the odd discordant character but mostly these people feel spot on. The three actors are as talented as they’re hot. This is a feast for the intellect as well as the eyes and it’s a thought provoking and wise piece.

I’d highly recommend getting down to The Vaults at Waterloo to catch this play. David Hare’s 1998 version of La Ronde (The Blue Room which starred a naked Nicole Kidman) was famously described as ‘pure theatrical Viagra’. This is a triple dose of Viagra in a tunnel at Waterloo. Now that’s not something you get offered every day.

F***ing Men runs at The Vaults Theatre until 4th December

7th November 2016
THEATRE REVIEW | Ballet Black Triple Bill – CAST Theatre and National Tour

★★★★ | Comprising of a trio of pieces, this mixed programme from Ballet Black combines abstract dance, drama, passion and narrative storytelling in a triple bill of short pieces which amounts to a stunning evening of dance.
Photo Credit – Bill Cooper
The piece opened with Cristaux, an abstract piece centring on the beauty of crystals and how mesmerising they can be. The piece was performed by Cira Robinson and Mthbuthuzeli November, who both carried precision, synchronicity and poise in their movement. Robinson’s costume was beautifully decorated with 1500 Swarovski crystals, which glistened in the light as the pair traversed the stage. Despite the quality of the choreography and performance, this was the weakest of the three pieces, primarily as a result of its soundtrack comprising of tinny bells ringing in a mish-mash of patterns. Despite sitting well with the theme of the piece, the composition held the piece back, which is unfortunate for something which otherwise had a lot for it.

The second piece, To Begin, Begin was choreographed by Christopher Marney, a former performer with Matthew Bourne’s New Adventures. Warming the stage with subtle lighting comprising of hues of blue and orange; and accompanied by gentile compositions of swathing strings and piano, this piece had a warm, dreamlike quality to it which felt comforting and familiar. The second abstract piece of the evening had a more contemporary slant to it, and knitted together both the traditional and modern movements beautifully; and kept building the momentum with the music and movement. To Begin, Begin was evocative, atmospheric and utterly absorbing.

Rounding off the programme was Storyville, a narrative driven piece choreographed by Christopher Hampson. Set in 1915, the ballet tells the tale of a young girl who finds herself working in an infamous dancehall in the red light district in New Orleans. Taken advantage of because of her youth and innocence, her spiral into self-destruction cannot be halted, even by a young sailor that she falls in love with. Brimming with passion and sadness, this piece had a clear narrative relayed by well-defined characters. Added into that was a collection of music which was evocative of the time period of the setting and a subtle undertone of fears of voodoo and black magic, reflective of the culture of New Orleans; which both added gravitas to the piece. Storyville rounded off the evening perfectly.

Having never seen this company before, for me, the triple bill was a fascinating insight into the company and an impressive taster of what Ballet Black has to offer, leaving me keen to see more from them. With a consistency of quality, precision and emotion running through the three pieces and with their impressive choreography and presentation, Ballet Black is thoroughly recommended.

Ballet Black is currently on tour across the UK. Details of the company can be found at www.balletblack.co.uk . Ballet Black were seen at CAST Theatre, Doncaster, who have a variety of art, dance, performance and shows, from West End shows to world premieres, in their upcoming season. Details can be found at www.castindoncaster.com

7th November 2016