THEGAYUK

Tag: UK

  • 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

    Follow Chris Bridges on Twitter

  • THEATRE REVIEW | What Shadows, Birmingham Rep

    ✭✭✭✭ | What Shadows

    CREDIT: Ellie Kurttz

    Is prejudice innate or learned? Is racism okay if everyone is? And is there such thing as racism equality? These are some of the questions that What Shadows evoked, and are still riddling my mind.

    In 1968, Enoch Powell made a speech in Birmingham that created a fissure along the street where it was famously delivered and divided a nation with words that scarred those who became a target of it. The Birmingham Rep put on the production of What Shadows and a troubling moment of history was resurfaced.

    In the Studio Theatre, real trees had been planted to give the idea of wilderness and lighting cast shadows on the wall for different moments of the play. I found myself staring at them a lot to figure out their purpose, and it dawned on me, halfway through, that the trees were probably the same ones that had witnessed history across the decades that the play was set in. They were the shadows of time.

    Cast-wise, each performer was equal in acting craftsmanship. Most actors multipart played different roles showcasing dexterity and natural flair, which contributed to an extremely believable production that took you on a chronological journey of identity. Chris Hannan, the writer of What Shadows, summoned a mixture of feelings in the audience, and without bias, created a story that made the audience ask and debate inwardly how they felt about their own identity: what is natural for human beings to feel? And, is double standards of racism correct?

    Ian Mcdiarmid not only looked the part but his physicality, as well as his tone of voice, were uncannily accurate. The power and fragility of Enoch was brought out by Ian in a subliminal way, and it was one of those performances that stunned you and made you feel incredibly glad to have had the opportunity to watch it.

    Bríd Brennan played Enoch’s wife, Pamela, and Sofia Nicol, an unrivalled genius of the early 90’s, which were played in a delicate and powerful way. The actor who stood out for me for his passionate, strong and utterly convincing portrayal of the Sultan was Phaldut Sharma. When he begged for his wife, Grace Hughes (Paula Wilcox), to remember him was close to tear-jerking, and the racial divide was felt the strongest when he gave a speech about serving with the Punjabi regiment and in the British Army as well as being a comrade of Enoch’s, and then Enoch’s dismissal and belittling of the sacrifices made by his regiment brought racism home. A superb performance I will never forget.

    Paula Wilcox did a sterling job as Grace Hughes, a lady who lost her husband during the war, and embodied, with impeccable skill, a racist resident in Birmingham who sided with Enoch’s views, but when she got to know the Sultan, the racial tension fell away, and left room for love.

    What Shadows plays at The Birmingham Rep until the 12th November

  • THEATRE REVIEW | Fool For Love, Found 111

    THEATRE REVIEW | Fool For Love, Found 111

    ★★★ | Fool For Love, Found 111

    This revival of Sam Shepherd’s 1983 drama marks the end of Found 111, the intimate Charing Cross Road performance space. Housed in the old St Martin’s College building next to Foyle’s, this odd little space has seen some triumphant plays in the past year. We’ve had Andrew Scott as one of a pair of reclusive brothers burying themselves in their own hoard of junk in The Dazzle, James Norton delusional, semi-naked and sweaty in Bug and Matthew Lewis as a hot shirtless hustler (a long way from Harry Potter’s fellow student Neville Longbottom) in Unfaithful.

    Fool For Love theatre review
    CREDIT: Marc Brennan

    Fool for Love is a claustrophobic play, suited to the closed, low-ceilinged space and seems a fine choice. Stuntman Eddie and his lover May are acting out the death throes of an on/off relationship in a motel room on the edge of the desert, overlooked by a brooding cowboy. The dialogue is terse as they parry and pace around each other and there are more slamming doors than in a house full of truculent teenagers. It’s a one-act play running at 70 minutes and whilst neither the plot nor theme enthral, the language frequently does.

    Eddie is played to brooding perfection by Ripper Street star Adam Rothenberg. He’s a strutting piece of sexually enthralling, bruised masculinity. His angular face pouts and he cheekily arches eyebrows. He’s also very easy on the eye and is a constant visual draw whenever he’s on stage. Equally strong is Lydia Wilson as May, convincingly showing us a character on the edge, veering between rage and even more rage. The problem is in the chemistry between them. For some reason, it doesn’t entirely work. However strong they are individually, there’s something lacking between them as a pair of long-term lovers. The space doesn’t help. The back of the theatre is opened up into a more expansive space and the atmosphere of an oppressive motel room that was achieved in ‘Bug” doesn’t quite come across here, however, much smoke they pump in.

    Found 111 isn’t going out with a bang (apart from the slamming doors) but nor is it a whimper. This play lies somewhere in between the two. It’s well worth seeing, especially if you’re planning to see Ed Harris in Buried Child at Trafalgar Studios. It fits neatly into the cannon of Shepherd’s work and provides interesting background. Also worth paying cash for is the sight of Adam Rothenberg. Thankfully, the production team are planning on resurfacing in similar quirky spaces that bring theatre away from the proscenium arch and into your lap. Watch this space.

    Fool For Love plays at Found 111 until the 17th December

     

    Follow Chris Bridges on Twitter

  • RESTAURANT REVIEW | Tabun Kitchen

    ★★★★ | Tabun Kitchen – Soho, an excellent new and healthy choice in Soho!

    PR Supplied

    Berwick Street is known for its famous market, but soon it’s going to be known as the street where Tabun Kitchen is.

    Located midway between the market and Oxford Street, Tabun Kitchen is a beacon of light on an otherwise dreary block. It will be the food that will lure you in, and it will keep you going back for more.

    It’s hard to put into words just how delicious the food is at Tabun. There are so many spices, ingredients, elements, and surprises in the food that you’re not exactly sure what you’re eating but then you don’t care because you’ve never experienced these tastes before – Jerusalem Street Food. It’s owner, Hanan Kattan, grew up in a Palestinian household, and she incorporates the ‘Tabun’ oven into the architecture (and cooking) of her restaurant to bring to Soho a unique and flavorful eating experience.

    The menu is quite big and varied so it’s hard to recommend a dish or two as I’ve only been there once (I plan to go back a couple more times actually). Its menu recommends dishes to share; a good idea as it will give you twice as much of a taste of their extremely varied dishes. Our mezze plates were out of this world; the Maftool Cous Cous Salad was a mix of peppers, spring onions, a hint of chilli, coriander, pomegranate dressing and included lamb sausage. The Moutabal Smoked Aubergine Dip was a delicious pomegranate garnish and flatbread croutons sprinkled with thyme. Both are rewarded five stars each! Next time I will try the Jerusalem Falafel and the Jerusalem style dip with cumin spiced fava beans. And to top it off none of these mezze plates are more than £5! Bargain!

    CREDIT: PR Supplied

    For mains, again, it’s hard to pick from the traditional and grills menus. We had the mixed grill – chicken kofta, shish taouk marinated chicken kabob, lamb kofta with warm artichoke with an egg lookalike dollop of white creamy garlic with yellow coloured very spicy yolk. It’s a flavorful dish, sprinkled with parsley. While the meat is cooked just right, and at £14 not a bad deal, I could’ve eaten more meat! My companion ordered, from the pizza menu, the Manaeesh Palestinian pizza (dough topped with white cheese, sundried tomatoes and olives and a bit of ground meat). Palestinian pizza, as you might know, is thin, wet and soggy. My dining companion enjoyed it, however, I wish he would’ve ordered something more exotic like either the Lamb Three Ways, Musakhan Chicken (with caramelised onions and pine nuts), Grilled Prawns or even the Vegetable Makloubeh – with rice, spiced aubergine, cauliflower and broad beans, yoghurt, cucumber and mint sauce, pistachios, pine nut & raisin garnish – it sounds heavenly – and I’m having this next time! The mains and grills are all under £14 while the pizzas are a snip at £8.50. Also, If you want to try a wrap, there are five to choose from: Chicken, Falafel, Cheese and Lamb, all at a friendly price of £8.50.

    Tabun has a huge sides menu to choose from; dishes that will complement your mains. We tried two and they were, while complete opposites, both extremely wonderful. The Avocado Salad – chopped avocado with tomato, coriander with lemon and garlic sauce – was just what you would expect – amazing (£5). And the Za’atar french fries, dusted with thyme spice mix, came with Toum (garlic) sauce (£3.50) – amazing! Also on the menu are pickles, olives, aubergines, hummus, kale salad and the always reliable tabbouleh Salad. But the Avocado Salad and the French Fries were perfection!

    And finally, puddings are a must. The Harisa Cake – semolina cake with coconut and orange blossom syrup – was divine. The Baklava selection, as you would expect, was also delicious and enough to put you over the top. But if you want to try something new – try the Jerusalem Knafe – cheese pastry soaked in sweet, sugar-based syrup. It’s extremely heavy yet very good, and I would recommend you sharing this with your dining companions because it is very filling. All cheaply priced at £5 each.

    Tabun Kitchen has a good white and red wine, rosé and beers and spirits and soft drinks choices, but go for one of the cocktails. The Tabun Mojito – beefeater gin, tonic water, fresh mint leaves, lemon and rosewater – was very thirst quenching and absolutely tasteful, while the Orange Sunset – Vodka, aperol, agave syrup, with freshly squeezed orange juice – was sweet and yet had the right amount of vodka in it. The Spice Trip – rum, orange juice, chilli and watermelon juice – and the pomegranate bellini – are both on my must have list.

    Tabun Kitchen seats 45 people comfortably, both on the ground floor and in the basement. The front room of the ground floor is hot – it’s where the oven is – and on the night of my visit the front door had to be kept open, but then it got too cold, so it was closed again, then it was too hot. I hope Tabun is able to sort this problem out. And one of our dishes didn’t arrive so we had to remind the wait staff, all of whom are very pleasant and nice, what we had ordered. I recommend sitting in the lower ground floor; it’s quant, Mediterranean-style, and very cosy that’s perfect if you’re looking for a place to enjoy the food without being in the hustle and bustle and heat of the main room. Faisel, the charming manager, will take you through the menu if you have any questions. And while the pizza was not sexy and the service a bit disjointed, Tabun Kitchen will not disappoint. It’s warm food and cooking style and abundant fresh and delicious flavours will blow you away.

    Reviewed by: Tim Baros

    Telephone: 020 7324 7767

    Address: 77 Berwick St Soho, London W1F 8TH

    Opening hours:
    Mon – Sat: 12:00 pm – 12:00 am
    Sun: Closed

    PRICE: ££ (explained)

    STAR: ★★★★ (explained)

  • THEATRE REVIEW | Side Show at Southwark Playhouse

    ★★★ | Side Show at Southwark Playhouse

    There’s something grimly fascinating about conjoined twins. As a child, I longed for a twin, someone within the family who would be just like me and understand me completely. Conversely, I also found family life constraining and claustrophobic and wanted solitude and escape. Imagine having a twin who you share a body with and the implications of this? It’s a strange notion to consider.

    CREDIT: Pamela Raith

    One of the most fascinating sets of conjoined twins in history was Daisy and Violet Hilton. They were born in Brighton in 1908 and were joined at the pelvis, sharing some blood supply. Displayed in freak shows, they ultimately hit the vaudeville circuit in America and ended up appearing in films. Their personal life was unconventional: they ‘divorced’ their guardian and manager, both married gay men and died alone with one twin dying a few days before the other.

    Russell and Krieger’s 1997 musical Side Show should be a fascinating and moving tale. It is and it isn’t. There are some spectacularly good songs but also some drearily forgettable ones. The musical feels a tad derivative at times with too many echoes of Chicago and Cabaret but at others feels unique and powerful. Daisy and Violet’s story begins at the freak show and the ‘freaks’ act out the events of their life; doubling as reporters, courtroom attendants, wedding guests etc. Again, this could have worked well but the whole show feels less of a missed opportunity but more like an almost achieved opportunity.

    The two leads are the supremely talented musical theatre actresses Louise Dearman (the only actress to have played both Glina and Elphaba in Wicked) and Laura Pitt-Pulford. They carry the show and have an electrifying presence. They’re ably supported by Dominic Hodson and Haydn Oakley as their career propelling prospective suitors. The problem lies in how the rest of the cast are used.

    The ‘freaks’ are dressed in what looks like Halloween costumes made by someone’s mother and they’re all a bit too stagey in their actions and expressions. There are lots of broad gestures and facial contortions whilst they enthusiastically plod through the seen-before choreography. The Southwark Playhouse is a small and intimate space and works well for close-up musical theatre but not when the cast is behaving like it’s The London Palladium and the clothes don’t bear up to scrutiny from anything less than 50 feet away.

    Overall, it’s a show worth catching, if only for the chance to see two of musical theatre’s rising stars perform so beautifully at such close quarters. Just try not to ‘Come Look at the Freaks’ (as the opening and closing songs implore). You might feel embarrassed and not for any of the wrong reasons.

    Side Shows plays at the Southwark Playhouse until 3rd December

    Follow Chris Bridges on Twitter

  • THEATRE REVIEW | The Woman In Black – West Yorkshire Playhouse & National Tour

    THEATRE REVIEW | The Woman In Black – West Yorkshire Playhouse & National Tour

    ★★★★ | Set in an old theatre in the late 1950’s, a solicitor, Arthur Kipps, enlists the assistance of a young actor to tell his story. His tale revolves around a terrifying incident when he was younger, when he travelled to Eel Marsh House to settle the estate of a long standing deceased client. Initially finding a conspiracy of secrecy from the locals, he makes his way across the Nine Lives Causeway, which is cut off at high tide. Alone in the mansion, he is plagued by the sound of a pony and trap, an unexplained banging noise and a door which appears to be locked from the inside. What secrets does the estate hold? What lurks in the swirling mist…? And who is the woman in black he keeps seeing?

    Photo Credit - Tristram Kenton (PR supplied Photograph)
    Photo Credit – Tristram Kenton (PR supplied Photograph)

    This chilling and effective ghost story is beautifully crafted and uses simple techniques to create a very taught atmosphere in the theatre. The lighting design in particular was incredibly well done – who would have thought that a dark stage with just a door highlighted would draw worried mumblings from those around you?

    The production slowly cranks up the tension, which quite literally draws you to the edge of your seat and then throws you back into it with “cattle prod” jolts that elicited genuine screams of fright from the audience. The narrative of the piece draws you in; and the production avoids spoon feeding you the story, leaving you as the audience to create your own horrors in your imagination. The set, staging and props were remarkably effective in their simplicity and created an atmosphere where you held your breath with the central character as he explored the darkness. Setting the show in a theatre made you feel very much part of the story and the dark atmosphere and low level lighting only add to the gloominess and intimacy of the piece.

    The performances from the two leads were both very good, with Matthew Spencer playing the part of The Actor and Young Kipps, and David Acton providing the elderly Kipps and the other characters he comes across. It’s a production which shows just how effective a simply staged double hander could be; and the way in which the audience is manipulated via the events unfolding on stage is testament to the quality of writing behind the show.

    This show is faithful to its original source material, the book by Susan Hill, rather than the 2012 film; and The Woman In Black is well crafted fireside ghost story which proves that there is more to what is unseen than what is seen. This show is a chilling pre-Halloween treat and a perfect way to spend a dark, stormy winter evening.

    The Woman In Black is currently at West Yorkshire Playhouse until 29th October 2016 (www.wyp.org.uk) before continuing on its national tour until June 2017 (http://www.thewomaninblack.com/).

  • THEATRE REVIEW | THE EXORCIST, THE BIRMINGHAM REP

    ★★★★★ | The Exorcist was a frightening occasion with jumps, bumps, and lights were left on in my home.

    Robert Day

     

    The original ‘The Exorcist’ written by William Peter Blatty brought horror to U.K. cinemas in the 1970’s being banned in most of them, for people fainted, were sick and were left immobilised from the terror. The Birmingham Repertory Theatre developed the play version alongside Bill Kenwright, and playwright John Pielmeier for a U.K. premiere which happened on the 21st October.

    I was stunned immediately by the ambition of the set design and special effects used throughout the play. I previously thought it would be a play that was going to be hard to get a scared out of as you knew what was going to happen, as well as you are not manipulated by the sounds and editing that you normally experience in a film. However, The Birmingham Rep’s ‘The Exorcist’ took you by surprise and you daren’t bat an eyelid. The illusionist setting and apparition of the evil spirit were special effects you would see in a film now. The illusion design was masterfully developed by Ben Hart. The way the walls appeared to move and the dark cloud traveling along the set as the demon were just otherworldly!

    Robert Day

     

    The performance, delivered by the cast, matched the effects with equal conviction with Regan, in particular, played by Clare Louise Connoly, shining brilliantly. Clare’s multifaceted portrayal of Regan was sublime, and delivered every ounce with dexterity. She surpassed herself when becoming possessed with ambitious physicality and movement that contributed to the eerie ambience of the production.   Jenny Seagrove played Chris, Regan’s mother, and played her emotions very authentically as well as showcasing anger and fear very intelligently.

    Peter Bowl’s Father Merrin stole the show for me. He played the Father quietly, confidently, and made the audience feel at ease as the one who was going to solve the puzzle. An incredibly gifted actor whose short time on stage provided entertainment to the last second, and the audience hung onto every word he said. The flamboyant character Burke, played by Tristram Wymark, had genial comedic timing. A couple of times leaving some audience members in hysterics. Adam Garcia contributed to the sombre mood of the play with his portrayal of Father Karras, whose mother had been ‘taken by the devil’, and had died from the event.

    It was a well-accomplished production, with effects that could not be believed were possible, acting that was on point, with all characters providing an air of mystery and suspense; and the effects that made the audience jump, which to me was a treat that I won’t be forgetting any time soon.

     

  • THEATRE REVIEW | Hotel For Criminals, New Wimbledon Studio

    ★★★ | Hotel for Criminals

    PR Supplied

     

    Hotel for Criminals is a reworking of Louis Feuillade’s silent film Phantasmagoria – Director Patrick Kennedy’s adaptation of Richard Foreman’s musical went the other way and implements a form of Chinese torture, attempting to impair the audience’s eardrums sixteen times in the form of a deafening hand pump emergency horn buzzer. Nodding off isn’t an option.

    You’ll be transported to a perverted French realm where sense has no bearing – a concoction of Mary Poppins’ Chim-Chim-Cheree with more of an Elvira approach, thrown together with a clown-style Night of the Living Dead meets Dracula – guided through by creepy narrator.

    Betwixt the chess-piece mobile, camp whirling walks of terror, a journo’s nuptials, vampire blood-supping, dead-pan humour, a hit-and-jaunt and a foreboding big black bird are some ghoulishly good musical numbers and spanking face-painted blood suckers: masters of their craft. Warning: Kate Baxter’s (Irma Vep) chilling vocals and the live band could possess – don’t forget your crucifix.

    Not everyone should check into Hotel For Criminals: you’ve got to have the right constitution for this sort of chaos, riddledom and buzzer torment – get clearance from your parole officer first.

     

    Hotel For Criminals plays at New Wimbledon Studio from 18-29 October

     

  • Popular and Secret UK Nude Beaches

    Popular and Secret UK Nude Beaches

    Looking for the best nudist beach in the UK?

    When searching for a nudist beach, minds often wander to a warmer, more ‘European’ environment. Where banana hammocks are frequently discarded in favour of sunning those few parts that were left to the imagination. But you don’t have to travel that far to get some sun on your privates at a not-so-private locale, there are plenty of nude beaches right here in the UK.

    We have nude beaches in the UK? Really? All I can think about is the amount of unflattering shrinkage that will be occurring. But for those of you who enjoy shedding your clothes and parking your posterior on pebbles WHATEVER the weather, there are a surprising number of nudist beaches right here in the UK for you to explore.

    Just remember that not all nudist beaches are gay beaches, and not all gay nudist beaches are ok with other “activities”. A nudist beach is not always an excuse to go dogging.

    Studland Bay, Dorset

    Where are the best nudist beaches in the UK

    Let’s start with the most (in)famous nudist beach in the UK. Studland Beach has the image of naked men baked right into the title. The popular beach is packed come summertime, whether or not the weather is hot, so this is not the beach to come to if you’re looking for peace and solitude. The shy nudists out there might be better off trying a different beach if you’re still precarious about stripping off.

    Studland Bay has a dedicated gay section which, whether you like it or not, has unsurprisingly become a popular cruising ground. Many voyeurists take to the dunes for a little slap and tickle of the bait and tackle before taking a cheeky skinny dip in the sea.

     

    Brighton Beach, Sussex

    Is there a nudist beach in Brighton?

    Originally opened in 1979, Brighton’s nudist beach is one of the most popular and most accessible nudist beaches in the UK. And since it’s Brighton and involves public nudity, the beach is hugely popular within the gay community. Despite the fact that the beach itself is one of shingle and pebbles, it remains one of the UK’s busiest naturist spots. So be sure to bring flip-flops and particularly comfortable towel if you’re planning on sunning your bits in Brighton.

    Porthzennor Cove, Cornwall

    If you’re looking for something more secluded, and perhaps a little more comfortable and beach-like, then it’s time to head to Cornwall. Britain’s best beaches are tucked away at its southernmost point, many of which are treacherously difficult to access. The rugged beauty of the West Cornwall coastline makes it ideal for naturists, populated with plenty of little coves and rocks that are perfect for sunbathing in your birthday suit. Though naturism is not officially recognised down there, you’ll be sure to come across many isolated coves whose seclusion makes them well-suited for nudists.

    Porthzennor is one of the coastline’s secluded sandy coves that is difficult to get to but ensures that there won’t be any passers-by that will be shocked to see your white bits. The crashing cliffs cleave open to reveal several corners of private sand that make an ideal private beach for two (or more). Just be careful when swimming as there are often strong undertows, and the closest land from there is the USA.

    St Osyth, Essex

    Nude beaches in Essex just seems to be asking for trouble to me. I mean how many people try to tan in the land of fake tan? But low and behold St Osyth exists, not far from Clacton-on-sea, in the heart of good ole Essex beach country. The beach itself is a bugger to get to, taking about 20 minutes to walk to from the nearest car park. So while this makes access difficult for the more “mature naturist”, it also discourages snoopers.

    The beach itself is about 2 miles long and isn’t overlooked, with about 1 or 2 miles of ground between it and the nearest road or track. St Osyth is unofficially divided into three different sections: one for straight naturists, one for men only, and then one populated by sand dunes. The latter part has been known to be something of a “swinging” area, but again that’s all just luck of the draw and who’s around on that day.

    Morfa Ganol, Wales

    Wales?! I know, first Essex now Wales, but hear me out. What the Welsh coast lacks in warmth, it makes up for with incredible landscapes to go with your manscapes (I’m running out of naked men jokes here). While you’ll need to pack a pair of walking boots to actually get to Morfa Ganol, you won’t need to wear anything else once you get there. The blissful beach is backed by the Snowdonia National Park, which means it’s pristine clear (albeit slightly chilly) waters are so clean they have earned the highest quality rating by European standards. Waters which are frequented by dolphins and the occasional German nudist. High praise from both.

    Cleat’s Shore, Isle of Arran

    So at this point in the list, we’ve all but abandoned the idea of a hot sandy beach in favour of whatever else UK beaches have to offer. So in for a penny, in for a pound, and let’s get naked on the brisk beaches of Scotland.

    Cleat’s Shore is Scotland’s only official nude beach, and despite that impressive title, it is almost always empty. This makes it a great spot for our first time naturists. You’re far more likely to spend your time conversing with nature rather than other couples. But you won’t be the only nudists on the beach; seals are common in the area, so at least you’ll be skinnier than someone.

    Throw in some rock pools, basking sharks and the occasional golden eagle, and Cleat’s Shore is a nude beach with a difference, which, let’s face it, is probably a good thing.

    So don’t write off the UK as a great place to strip off. Yes the water may be colder, but the experience may be all the richer because of it. Have you been to any secret or beautiful nude beaches in the UK? Let us know all about them in the comments section below.

    Thanks for reading!

  • THEATRE REVIEW | Sunny Afternoon – Sheffield Lyceum Theatre & National Tour

    ★★★ | Sunny Afternoon

    In this musical biopic, the swinging sixties are brought back to life as Sunny Afternoon tells the story of the early days of the classic British band, The Kinks, as they fight with their management and with each other on the road to fame. Featuring a slew of classic songs, including “Waterloo Sunset“, “You Really Got Me”, “Lola”, “Dedicated Follower of Fashion” and “Sunny Afternoon”, the show charts the on-stage antics, backroom bickering and personal lives of one of Britain’s seminal rock and roll bands.

    Picture Credit : Kevin Cummins

    Whilst the production gives a flavour of the band’s history, the narrative is stripped back to allow for the soundtrack to take pride of place. The show never really provides any detailed  or thorough insight into the band, their relationships or into the music industry of the 60s, but instead offers a show brimming with musical numbers which sit fairly comfortably within the story and remind you just how many great songs the band have done. The musical numbers veer from the tender ballads to some raw and energetic performances, with one of the musical highlights of the show being an acapella version of “Days“.

    Using a wall of speakers, the recording studio style set was visually striking; and a runway from the stage leading out into the audience added gravitas to the concert style feel of the piece and drew the audience in. The costumes accurately reflected the stunning sixties style and period detail littered the set; whilst the lighting design fitted the bill without ever being intrusive.

    Ryan O’Donnell provided a charismatic performance as Ray Davies, bringing with it an air of a thoughtful, reflective and somewhat fame-resistant individual to whom music was the most important thing, which was juxtaposed nicely with Mark Newnham’s confident performance as pill popping, hard drinking and cross-dressing Dave Davies. But what impressed most was the musical talent on display with the cast playing a variety of musical instruments; and in a play which holds the musical numbers out as its key feature, live performances like these really bring the show to life.

    Sunny Afternoon presents as a nostalgic slice of the sixties which benefits from a soundtrack comprising of more hits from the band than you thought you knew; and an interesting, if light, insight into the band which helped define the era.

    Sunny Afternoon is currently on tour around the UK until May 2017 (visit www.sunnyafternoonthemusical.com for details) and is currently playing at Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until 29th October 2016.