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Tag: UK

  • Savage who murdered PC he met on Grindr and dissolved his body is found guilty of murder

    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.

    mdr27-16brizzi

    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.

    Gordon Semple
    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.”

     

     

  • THEATRE REVIEW | An Inspector Calls, The Playhouse Theatre

    THEATRE REVIEW | An Inspector Calls, The Playhouse Theatre

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

    An Inspector Calls
    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.

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    An Inspector Calls plays at The Playhouse Theatre

  • 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.

  • 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

  • THEATRE REVIEW | The HIV Monologues

    THEATRE REVIEW | The HIV Monologues

    ★★★★★ | The HIV Monologues

    The HIV monologues review
    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.

  • 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)

  • 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!

  • THEATRE REVIEW | F*cking Men

    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

  • 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

     

  • RESTAURANT REVIEW | Chicago Rib Shack – Aldgate East

    Chicago Rib Shack – Aldgate East – stomach busting food that will do damage to your waist – in a very delicious way!

    There have been so many times when I’ve dined in a restaurant only to be left feeling not fully satisfied and still a bit hungry. Well, a visit to Chicago Rib Shack is quite the opposite – I left very full and extremely satisfied, read more to see why.

    Chicago Rib Shack has just opened it’s fifth London location, right near Aldgate East tube station. Already with a presence in almost every direction in London (Stratford, Clapham, Camden and Twickenham, and they’re also in Leeds), Chicago Rib Shack is changing the way ribs are eaten in London. Their ribs are smoked over applewood chips for a minimum of six hours in a wood burning oven at 107 degrees celsius. So you have a taste of nicely smoked ribs with the option of adding as much BBQ sauce as you want.

    On a Thursday night visit to the newly-opened (two weeks) Aldgate East location, the restaurant was jam packed. Evidently, word had gotten out that on this otherwise unfriendly and bland street a few minutes walk to the tube station was a brand spanking new American-style rib joint. Even when you’re walking by the smell of ribs is so strong and powerful that if that doesn’t lure you in then you’re sense of smell needs to be checked by a doctor.

    The beef ribs did not disappoint. The two on my plate were massive, extremely tender and wonderfully large. These particular ribs are smoked for 18 hours and arrive on the plate moist and meaty. BBQ sauce brought to the table is optional, and while the sauce is one of the best I’ve ever had – not too thick and overpowering – I just had to eat the meat on its own to get the full effect of the flavour. Delicious. If this is too much meat for you, then the baby back ribs might be your style. Lean and much smaller, they are light and lovely. The beef ribs are worth every pound of the £19 price, while a half portion is a snip at £10. I had initially wanted to order the £18 Thick Cut Belly Ribs, but they had run out and it was only 8pm! Hopefully, the restaurant will realise that they need to cook enough to last all night! If you don’t fancy ribs then perhaps a burger (classic cheese at £7.50 or shack stack with a double patty, potato cakes, onion rings, egg, avocado and cheese for a whopping £16). Or perhaps the rump steak (£18), cobb salad (£8/£13), griddled chicken (£13) or Catfish (£12).

    As sides, we ordered pulled pork spring rolls (£6) and crispy catfish (£6). Both were very good, very delicate, and not too overpowering (especially the catfish, which was nicely breaded and not too fishy tasting). They’re served with a cajun sauce but it’s very spicy – try the BBQ sauce instead – it’s a better accompaniment. The Onion Loaf was the most amazing ever! Baked Caramelised onion, it literally looked like a loaf of bread – crispy, very big and absolutely amazing (only £6). The coleslaw was perfect – not overwhelmingly creamy (£4) and the handmade BBQ beans were tasty and good (£3.5). Also on the side menu were fries, mash, and mac & cheese. When you order expect your food to come all at once. Our table was literally overflowing with dishes!

    I had absolutely no room for dessert but stuffed down a Lemon Pot – a lemon curd with lemon biscuit chunks, vanilla ice cream and chantilly cream served in a jam jar – a lovely and sweet dessert, and was an absolute perfect ending to a perfect dinner.

    I can’t stress how delicious the meal me and my dining companion had. While she felt that the spring rolls and catfish were a bit flavorless, (they’re probably meant to be because they’re served with a side of sauce) – we were both amazed at how delicious the ribs and onion loaf were, and how reasonably priced it all was, and how thirst-quenching the Nojito (a non-alcoholic mojito) was, at just £4.50. Their drinks menu is, as you would expect, full of many different types of drinks – classics such as cosmos, martini’s, peach teas, among others. Their signature drinks have intriguing names such as Four Roses Milk Punch, Rib Shack Fizz, Jungle Bird, Paper Planes and Cane ’N’ Oil – all that need to be tried during multiple visits! They also serve all sorts of shakes and the usual wines, bubbles, ciders, beers and soft drinks and juices. The root beer float (£4) is a signature American drink that must be tried, either with your meal or for dessert! A must!

    The Aldgate branch is smartly designed – open planned, with the bar straight ahead as you walk in and the open kitchen inside on the left. But with the open kitchen comes the issue of the whole place smelling of meat! Don’t be surprised that when you leave your clothes and hair will have the smell of meat. Make sure you don’t have any dogs following you home! The tables are nicely laid out in the restaurant, with free standing tables that I urge you to sit at. We sat in the mashed up back section, next to a table of four rowdy bankers – the tables were a bit too close to each other, enough so that when someone got we had to hold the table down to make sure their bum didn’t knock down our drinks and condiments.

    Chicago Rib Shack is stomach-busting food at affordable prices. It’s a trendy hip joint for meat lovers, food that is perfectly cooked and willingly devoured. And some of the branches (including the Aldgate branch) serve brunch. I’ll be back there either again for dinner or brunch once my waistline returns back to normal!

    Reviewed by: Tim Baros

    Telephone: 0207 426 0218

    Address: Wentworth Street London E1 7AL

    Opening hours:
    Mon – Fri: 12:00 pm – 23:00
    Sat: 10:00 to 23:00
    Sun: 10:00 to 22:30

    PRICE: ££ (explained)

    STAR: ★★★★ (explained)

  • THEATRE REVIEW | The Last Five Years

    ★★★ | The Last Five Years, St James Theatre

    CREDIT: Scott Rylander

    The St James Theatre near Victoria has had a poor recent track record with widely panned shows such as “Miss Atomic Bomb” and the deeply unfunny comedies “Pig Farm” and “Three Lions” denting their reputation.

    It’s soon to be re-launched as “The Other Palace” (what were they thinking of with that name?). Things may be looking up with the addition of the duo that brought smash hit “In the Heights” to London (artistic director Paul Taylor-Mills and choreographer Drew McOnie) for their first production. Now acquired by Andrew Lloyd-Webber’s Really Useful Company, the intention is that this will be a home for established productions as well new musicals.

    Before the name change, we have the 2001 two-hander “The Last Five Years”. It concerns a New York couple and looks at their failing relationship. Failing actress Cathy tells the story backwards from the point where they split up whilst rising star novelist Jamie tells the story from the time they first meet. There’s a midpoint where their stories match up and they join each other on stage. Told in solo songs, it’s a quirky musical that hasn’t dated much in its style since it was written in 2001 and the form almost works. There is something odd, though, about numbers in which the couple sing to each other but are alone on stage with the other half of the relationship occasionally loping through.

    Star of Les Miserables, Samantha Barks is a gutsy Cathy and can certainly belt out a tune as well as convey emotion. Good-looking “Broadchurch” beau Jonathan Bailey is almost her vocal equal. There are some moving songs, comedic moments and the odd deft touch of lyricism mixed with some heavy-handed metaphors. The main problem lies in connecting with the couple. They appear. They meet. They split up (and do the same in reverse, if you’re watching Cathy’s numbers). We don’t learn an awful lot more. Cathy is a struggling actress who is late a lot. Jamie writes a book and finds success, ultimately neglecting Cathy. It doesn’t feel enough and there’s a limited amount of depth to the story and characterisation that makes the numbers hard to connect with fully. The set is clumsy, pushed and pulled by stagehands with creaky moving parts jerkily appearing and wobbling a la “Crossroads” motel.

    In spite of the flaws: there can’t be many of us who don’t identify with the elation of a fledging relationship or the hideous pain of parting when it all goes wrong. There are some great songs, wry humour and touching moments. There’s a lot to like here (especially the two stars) and hopefully, this is a sign of better things to come (except for the new theatre name).

     

    The Last Five Years plays at St James Theatre until the 3rd December

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