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Tag: UK

  • THEATRE REVIEW | Moby Dick! The Musical

    ★★★★ | You don’t have to be a fan of aquatic placental spout-squirting marine mammals to appreciate Andrew Wright’s take on Moby Dick – but a penchant for choreography that could power a fleet of trawlers, an affection for Glee-style musical numbers and an esteem for the male form, in two beautiful varieties, will help you stay afloat.

    St. Godley’s Academy for Young Ladies are in a bit of financial bother. Headmistress (X Factor’s Anton Stephans) decides to stage a musical version of Herman Melville’s classic novel Moby Dick to keep the shark from the porthole. Think St. Trinian’s meets Peter Pan with a wave of Carry on Cruising – Ofsted would have an algae-ridden-seabed day.

    In amongst the spot-light rivalry, over-the-blouse gropes, double entendres, an inappropriate use of a ruler, African jigs, amateur projector marine displays, dark angel trolly dashes, Sinitta (probably just because it was press night), the occasional can-can and a male striptease – in amongst the pandemonium of jollity is a cast humpbacked-full of enthusiasm, each sperming their own individual clicks, pulses and whistles.

    Ishmael (Rachel Anne Rayham) would give a chorus of orcas a swim for their money with her compelling vocal cords. Anton’s animated boat-race did him no favours with Mr Cowell but worked superbly spurting life into the Headmistress and Ahab. And Glen Facey’s pirouettes, fouettés and fish dives were executed without so much as a splash.

    School uniform isn’t mandatory, and you may be encouraged to dance with the Head, but there’s no Moby about enjoying this Dick – it’s a sure thing.

    Wednesday 12th October – Saturday 12th November 2016 Tuesday to Sunday, 7.30pm
Saturday and Sunday matinees, 2.30pm

    Union Theatre, 204 Union Street, London SE1 0LX – phone: 020 7261 9876

    Tickets are available starting at £15

    Book: www.uniontheatre.biz

  • THEATRE REVIEW | RAGTIME

    ★★★ | RAGTIME, London Theatre

    The US is in turmoil: racial discrimination is rife while immigrants arrive by the boatload to escape feast and famine in their own countries. This could describe present-day US but it’s actually the early 20th century in the new production of Ragtime now playing at The Charing Cross Theatre.

    Ragtime the novel was originally written in 1975 and had its London stage debut in 2003, after it had debuted on Broadway in 1998. The revival of the show was brought back to London’s Regent’s Park Open Air Theatre in 2012. This new version, directed by Thom Southerland, is very ambitious, with a very crowded cast of 24 on a stage barely able to fit in their singing, dancing and acting.

    It’s the turn of the 20th century in New York and we are sung the story of three different groups; an upper class family, African Americans, and Eastern European immigrants, and eventually all their lives will cross in a show that packs a lot in its over two hour running time in a theatre that was too hot and a bit too uncomfortable.

    The upper-class family takes from and centre. It’s the wife, who’s called Mother (Anita Louise Combe) with a young son and a husband who leaves the family behind to go on an exhibition to the North Pole. Then there’s the African Americans, fronted by Coalhouse Walker Jr. (Ako Mitchell), a Harlem musician whose girlfriend Sarah (Jennifer Saayeng) leaves her baby on Mother’s doorstep, but eventually moves in with Mother and is found living there by Coalhouse. Then there’s the immigrants – Tateh (Gary Tushaw) and his daughter (Alana Hinge) – who arrive in the big city with nothing to their name. However they don’t find their American dream in New York so Tateh decides they should go to Boston but right before their trip they meet Mother and her son. And trouble is in store for Coalhouse and Sarah who get harassed by unfriendly locals and it’s at this point when the first half ends.

    The second fails to match the first half’s intensity and drama. It neatly wraps up the storylines, with themes of reunions and acceptance but it’s all a bit of a letdown after the energetic and frantic first half. The cast are all fine, with the excellent vocal chords of Saayeng and Bernadette Bangura. And Combe and Tushaw provide much dramatic acting in their roles, while Samuel Peterson is adorable and perfect as the son on the night I saw it.

    If there ever was a musical that’s full of music, this is the one. It’s a good old classic American story that’s pure red, white and blue – there’s nothing as American as this show. And what a pertinent time to have on display this show of Americana, when the U.S. is going through a most unusual election, and where black men are continuously getting killed, and immigrants from all over the world wanting to live to live there. What took place in the early 20th century is still taking place today.

    Ragtime is now playing at the Charing Cross Theatre until Dec. 10th.

     

  • THEATRE REVIEW | Safe, London Theatre

    THEATRE REVIEW | Safe, London Theatre

    ★★★ Safe, London Theatre

    The statistics about homelessness people are alarming. 25% of homeless and at risk youth in the UK identify as LGBT, a shockingly high proportion.  Alexis Gregory has made a verbatim theatre piece looking at the subject. He interviewed a group of young adults who had been at risk or homeless and created a powerful set of interwoven monologues.

    CREDIT: Jane Hobson
    CREDIT: Jane Hobson

    Alicia started stealing her family’s painkillers to self-medicate against her confusion and worries about her sexuality.  Spiralling into a cycle of alcohol addiction she hurtles towards homelessness and hits rock bottom. Jack is confused by his gender, growing up as a boy in a girl’s body, suffering anxiety attacks and verbal abuse from his family who refuse to call him by his correct gender or use the right pronouns. Samuel realises that he’s gay at a young age but his ultra-religious Nigerian parents aren’t sympathetic to his sexuality. When he’s outed by his sister he ends up facing a volley of abuse and barrage of prayers along with plans to send him to Africa to ‘cure’ him. Understandably he flees. Alicia (same name, different character) is rejected by her mother and ends up in children’s homes and foster care. Trapped in the wrong body she works as a rent boy to get cash to get by.

    The stories are a mix of pathos, humour and horror. Samuel’s story (told by the talented Michael Fatogun) is laden with wry humour and the vibrant wit of his character comes through. Riley Carter Millington is among the cast and plays Jack. Better known for his portrayal of Kyle Slater in ‘Eastenders’; Riley was the first transgendered actor to play a transgender character in a T.V. soap opera. It’s a strong cast and they’re gifted a beautiful script (or transcript, even). There’s a hint of music with alternating singers at the start of the show (Rudi Douglas did a spine-tingling acapella version of ‘Smalltown Boy’ on the show I saw). There’s also a series of thought provoking 15 minute curated talks each night after the hour-long performance.

    The interspersing of the monologues with interactions of other actors playing subsidiary roles stalls the action and reduces the impact a little but it’s otherwise pitch perfect.

    Troubling and painful as the stories can be there’s ultimately something redemptive about them too. The Albert Kennedy Trust’s work figures highly in their support of young LGBT people in crisis. This is a performance worth catching. There can’t be many LGBT people out there who don’t find something to identify with here, too. These are exceptional stories in one sense but not in another. These are ‘everyman/woman’ stories that are sure to resonate.

    Follow Chris Bridges on Twitter

  • 75,000 to be awarded a Governmental pardon for the criminal act of being gay

    75,000 to be awarded a Governmental pardon for the criminal act of being gay

    The Government is to hand pardons to tens of thousands of deceased gay and bisexual men who you were criminally convicted of homosexuality.

    Alan Turing
    Public Domain

     

    The UK Government is to start issuing pardons for gay and bisexual men who were convicted of the crime of homosexuality. The Ministry of Justice said that no individuals cases would be singled out.

    Homosexuality was decriminalised in the UK in stages, with the law change in England and Wales in 1967, in Scotland in 1982 and in Northern Ireland in 1982.

    Former Liberal Democrat MP for Manchester Withington, John Leech, who led the successful campaign to pardon Alan Turing, has today secured an agreement with the Government which will grant a posthumous pardon to tens of thousands of gay and bisexual people convicted under long abolished sexual offence laws.

    The decision to accept the amendment has been warmly welcomed by the architect of Alan Turing’s pardon, Cllr. John Leech, who said,

    “For years I have campaigned and fought for this moment and I’m completely overwhelmed that this is finally coming to a positive end.

    “This is a deeply profound and emotional day for my team and I.”

    Those similarly convicted but still alive will also receive pardons if they have successfully applied for a disregard, or in future successfully apply for a disregard under the Protection of Freedoms Act.

    The Government will add their name to the Liberal Democrat amendment to the Policing and Crime Bill that when passed will finally grant the long-awaited pardon to over 75,000 people.

    This has been a long-fought campaign for John Leech who first raised the issue in the Houses of Parliament and began campaigning in 2011.

    Mr Leech submitted several motions to Parliament and campaigned hard to secure the historic pardon, stating that it was “utterly disgusting and ultimately just embarrassing” that the conviction was upheld as long as it was.

    In 2013, Alan Turing was given a posthumous royal pardon and an official apology by former Prime Minister Gordon Brown, following the high profile campaign led by John Leech.

    Following the success of his campaign, Mr Leech turned to securing the pardon for the 75,895 other gay, lesbian, bisexual and transgender people who were unfairly convicted for similar offences.

    Alan Turing was a pioneering English computer scientist and mathematician whose groundbreaking work is thought to have brought WWII to an end four years early.

    However, at a trial in 1952, Turing admitted to “acts of gross indecency” before being sentenced to chemical castration. His conviction meant he lost his security clearance and was forced to stop work at Bletchley Park.

    Aged just 41, he was found dead from cyanide poisoning in 1954 with a half-eaten apple by his side. An inquiry concluded that it was suicide.

    It is predicted that Turing’s work saved the lives of an estimated 14 to 21 million.

    Mr Leech said Turing’s persecution “by the state for being gay was a scandal that shouldn’t have ever been allowed to stand”.

    The first motion Mr Leech submitted called for a recognition of the “vital contribution made by Alan Turing to Britain’s war effort” and “regrets that following his years of national service he received a criminal conviction for having a sexual relationship with another man”.

    John Leech concluded: “This is an enormous step forward for LGBTQ+ history and I believe Alan Turing would be truly proud to see tens of thousands of people rightfully vindicated in his name.”

    Leader of the Liberal Democrats, Tim Farron MP, added: “The Liberal Democrats continue to be the strongest voice on equality in and out of Parliament.

    “This was a manifesto commitment which even in opposition, thanks to the tireless work of John Leech alongside our MPs and peers, we have been able to deliver on.”

  • THEATRE REVIEW | Breakfast At Tiffany’s – Sheffield Theatres and National Tour

    ★★ | Based on the classic novel by Truman Capote; which was famously immortalised on the big screen by the 1961 film, Breakfast at Tiffany’s tells the story of an unnamed writer’s obsession with his faux-socialite neighbour, Holly Golightly, as she optimistically flirts, romances and blags her way through life via a series of romantic interludes with a number of well to do men.

    Photo Credit – Sean Ebsworth Barnes

    Based more on the book than on the film, this adaptation by Richard Greenberg has its moments. Firstly, the script, whilst wordy, carries with it an essence of Capote’s work, with rhythmically delivered passages of lengthy text which maintain the feeling of a novella rather than a play. Returning the time frame to the original 1940’s setting, the costumes were both glamorous, and, in the case of Holly Golightly, numerous. The set design was beautifully done, sturdily constructed, versatile and filled with period detail; and the lighting design by Ben Cracknell effectively transported the audience between New York downpours and hazy summer days.

    Matt Barber (Downton Abbey) delivers his role as Fred with enthusiasm and an element of innocence as his character falls for his neighbour’s charms; despite the hint of Fred’s closeted homosexuality running through the piece. Georgia May Foote (Coronation Street) is functional and steady as Holly Golightly. Stepping into such an iconic role was always going to be a tough call for any actress and Foote holds her own, never really excelling, but never falling flat either, although she doesn’t quite pull off the charisma and allure of the character entirely.

    The difficulty with this production is that is it, sadly, just plain dull. Golightly comes across as a self-absorbed, egocentric and, quite frankly, dislikeable character, which makes you wonder just why anyone would become so infatuated with someone so narcissistic. The play is heavy, slow going and overlong, which lacks any of the whimsical lightness and charm of the film version; and whilst the play is more reliant on the novella than the film, comparisons are unavoidable. The pacing and momentum of the piece is patchy; it is clumsy at times, there are a number of unnecessarily loud and messy scenes filled with a variety of unlikeable characters; and the audience warmed more to the scene stealing cat, Bob, than most of the actors on stage.

    For those enamoured with the book, this is a relatively good adaptation, and they will not doubt find much to enjoy within this production, which is a grittier and darker adaptation in keeping with Capote’s writing. For those who are smitten with the film, and despite the publicity shots for the play which are tantalisingly reminiscent of the iconic imagery associated with the movie, there is likely to be some disappointment.

    Breakfast at Tiffany’s is on national tour (see www.breakfastattiffanys.co.uk/ for details) and is currently playing at Sheffield Lyceum Theatre (www.sheffieldtheatres.co.uk) until 22nd October 2016.

     

  • RESTAURANT REVIEW | Roma

    In a part of London where there’s not a whole lot going on cuisinewise, Roma is a nice breathe of fresh air.

    CREDIT: Supplied

    Situated right next to Fenchurch Street Station, past a Pizza Express and The Windsor Pub, Roma brings a unique and very elegant dining experience to a part of London that desperately needs it. If you walk quickly past the ugly station and try not to inhale any of the train fumes, Roma, located down a flight of stairs from the square is the elegant Roma and it’s an absolute find. A bar with ample tables for drinks, and beautifully situated tables alongside the large windows – tables that seat two, four, six, and perhaps more, with large windows that gives the restaurant its Italian style.

    Roma claims that it brings 2000-year-old flavours and passions of ancient Rome to its rich menu full of Roman-inspired dishes. Well, no one I know was around 2000 years ago so we will have to take their word for it! Luckily the menu is not overwhelming – it’s simple yet and uncomplicated. Recommended as a beginning dish while you relax and read the menu are the requisite olives, bread and dips, a selection of crudités as well as bruschetta – all priced below £8.00. There are eight small plates to choose from, all very simple and knowing. Oxtail Soup, Mussels and Clams, Cod Loin Fish Cake, Hay smoked mackerel fillet, Hare & pistachio terrine, all excellently priced at below £9.00. The Mediterranean lentil salad served with ricotta salata, with lite vinegarette sauce, was absolutely wonderful – a snip at £7.00. The Salumi dish of cured meats & antipasti, priced at £15.00, was worth every pound because of its large size and excellent presentation of an array of meats served with bread and olives. In fact, this is a chance for Roma to present its own charcuterie – which is in their kitchen – so you know you’re getting fresh meat.

    CREDIT: Supplied

    Roma offers Large Plates and plates cooked in Hay. First off, the large plates include Mussels & Clams, Tiger prawns, Wild mushroom gnocchi, Honey & Mustard pork, and 16th-century cotechino (an Italian charcuterie dish). You might ask, what is hay? This is where Roma bakes it’s meat on hay – which is how the ancients Romans cooked. So the hay menu included the Crispy pork belly, accompanied by Borlotti beans, ham & tomato casserole. It was a bit disappointing for its £19.00 price as the pork was not that big, and it was awfully hard to chew, served with a small portion of the casserole. Luckily I ordered the Gnocchi to accompany it, but it was basic, scattered in butter and basil. The Vine wrapped tuna, leeks & olives dish, with Risotto Bianco, was the piece de resistance. Two pieces of tuna, covered in a vine leaf, with a massive portion of risotto, was very nice, and the risotto and tuna complemented each other. At £22.00, it was worth the money. Other ‘cooked in hay’ dishes on offer include slow cooked leg of lamb for 2 (I will have this next time), lamb rump, and half roasted chicken.

    This being an Italian restaurant you can bet that the desserts would be perfect, and they were. The Torata del nonna (a pastry shell covered with pine nuts and sugar to the veil that hides a delicious cream filling pasticcera) with pine nuts and peanuts needs to be eaten to be believed. The Apricot and ratafia sweet-beverage cake, coupled with Rose water créme Anglaise, was also heavenly, sweet, and a perfect ending to a filling meal, both at a very sweet price of £6.50.

    CREDIT: Supplied

    There’s a lot of wine on offer at Roma (just like in the days of the Roman empire), and Sarah the wine sommelier will offer you an excellent selection to go with each of your dishes. They were all very excellent and excellently accompanied the dishes we had. The Northern Rome GEWURZTRAMINER, ALOIS LAGEDER, Alto Adige 2015 and the TEMPRANILLO, 6 MESAS EN BARRICA, FINCA LA ESTACADA, Ucles 2015 were perfect with the starters. With the mains, the CABERNET, MERLOT, PUKLAVEC FAMILY HERITAGE, GOMILLA, Macedonia 2015 and the PINOT NOIR, KRAFUSS, ALOIS LAGEDER, Alto Adige 2012 complemented the fool. Roma also offers wines from the South of Rome, France, and Spain & Portugal making their list one of the most comprehensive north of the Roman ruins!

    Roma is the perfect place to go if you want to impress your clients, co-workers, loved ones or perhaps even your boss. It’s an elegant nicely tucked away restaurant where the food is impressive, with impeccable service.

     

    Reviewed by: Tim Baros

    Telephone: 0207 488 2807

    Address: 14 New London Street, London, EC3R 7NA

    PRICE: ££££ (explained)

    STAR: ✮✮✮ (explained)

  • THEATRE REVIEW | Shopping and F*cking

    ★ | Shopping and F***ing

    What’s not to like about shopping and f***ing? They’re two fine occupations. The answer is a that there’s a hell of a lot not to like in this messy and deeply flawed adaptation of Mark Ravenhill’s 1996 play. This is a world where sex and consumerism are distinctly unfunny, painfully dull and are a chore to watch.

    The play concerns Mark, a heroin addict who’s just failed in rehab, his lover Robbie and their flatmate Lulu. Emotionally deadened and reduced to seeing everything through a lens of consumerism, they’ve lost the ability to connect emotionally. Cue the arrival of Gary, a teenage rent boy who’s the victim of sexual abuse and now wants to be owned and a messy situation with a drug dealer. Events only serve to deepen their jaded worldview.

    Thematically the play has become more, rather than less relevant in the 20 years since it was first staged at The Royal Court. The world feels more mechanical and glassy eyed with the rise in the usage of the Internet. The play should work as well as it did when it was first written. The problem here is that director Sean Holmes’ attempts at a clever staging have swamped the play to such a degree that it’s almost unwatchable and the script feels buried beneath a high sheen.

    The Lyric has been transformed into a TV studio with a change in seating, green screens and cameras. It’s like a 90’s late night crap TV show with bouncy fake enthusiasm crossed with a surreal shopping channel. Runners appear, there are interludes where the cast try to sell tat to the audience and breaks for shameless nostalgia fests with 90’s pop music, one where Robbie gets off his face on E. It feels sloppy and cheap and not in any intentional way. Back projections of porn, scenes of rimming with associated anal bleeding, characters vomiting on stage, karaoke, audience participation, nudity, on-stage sex, drug-use, splatters of body fluid: I’d list more of the multitude of things that this production has thrown clumsily on stage but I’m starting to get flashbacks of boredom.

    It feels sloppy and cheap and not in any intentional way. Back projections of porn, scenes of rimming with associated anal bleeding, characters vomiting on stage, karaoke, audience participation, nudity, on-stage sex, drug-use, splatters of body fluid: I’d list more of the multitude of things that this production has thrown clumsily on stage but I’m starting to get flashbacks of boredom.

    This could have worked and could have been an arch and witty adaptation that slammed home the message of the play and emphasised the caustic wit of the piece. Instead, it just feels juvenile and tiresome with nothing to compel you to watch. It’s about as dull as spending an hour and a half listening to Gary Barlow’s monotone voice (if you hadn’t noticed, the characters are named after Take That).

    Really disappointing work from The Lyric.

    Shopping and F*cking plays at The Lyric until the 5th November

    Follow Chris Bridges on Twitter

  • RESTAURANT REVIEW | Lotus

    There is a small Indian restaurant on Charing Cross Road that is doing amazing things with their food – Indian food Par excellence!

     

    CREDIT: PR Supplied

    Voted the best Indian Restaurant at this year’s LUX 2016 Hospitality Awards, Lotus is a restaurant everyone must experience. If you’re a huge fan (or not) of Indian food, put this restaurant on your radar because it will make you re-think how Indian food is being served, cooked, and eaten.

     

    I’ve never been a fan of Indian food. I’ve always found that in any Indian restaurant you go to in London the food is very spicy and how can one enjoy a meal when you are sweating with your tongue on fire and the need to drink bucketloads of water? Well, at Lotus, the spiciness of the food is not even an issue. The food is so delicious that you will forget all you know about Indian food and will immensely enjoy their incredible food sensations.

    Open for only a year, and located north of Trafalgar Square across from the Garrick Theatre, Lotus is a small quaint restaurant with beautiful upscale decor, and service, with affordable prices. And the food, ah the food, it’s just simply amazing. The menu offers quite a selection – from starters to kebabs to mains, sides and desserts, and let’s not forget the comprehensive wine list. But first, upon arrival, you are given a glass of Timater Ka Shorba – a spiced Indian tomato drink with fresh coriander – it’s an absolutely divine drink with a refreshing (and not spicy) kick.

    CREDIT: PR Supplied

    As with any Indian restaurant, Poppadums are a must! Lotus serves them with Mango, Apricot, Mint, Red Chilly and Green Tomato Chutney, presented on a rectangular dish, and at only £2.75, a great deal. But it’s the starters and mains where Lotus excels. Rabbit Kheema was a beautifully presented starter with rabbit inside a Green Pepper Corns and Missi Roti-shaped teepee, with coconut sauce. The rabbit was tender and delicious, and at £9.75, worth every penny. The Rattes, Chickpea, Sev and Savory Yogurt, with a warm mélange of potato wth sweet and sour spices, while a bit small for it’s £5.75 price, was very light and very good. As for the Kebabs, the Lamb Chops and Rump (lamb in a ball) are highly recommended. Beautifully seasoned, marinated in Indian spices, accompanied by garlic pickles, Indian onions and Chilli Salad, a bit pricey at £18.75 but again, worth every penny. Another amazing dish served were the golgappas – a snip at £3.75. They were four round fried crisp balls, hollow puri and filled with sweetcorn and coriander accompanied by a small jar of Jaljeera – a cumin, pepper and mint drink with tamarind chutney – that is poured into the golgappas. Eating them whole are an absolute explosion in your mouth! Very yummy!

    As for the mains, the Lobster Tail and Scallops were the perfect dish for those who enjoy seafood. Swimming in a ginger, curry leaf and coconut curry sauce, it was a seafood lovers delight. The 23 Karat Gold Lamb Shanks was not at all spicy, and indeed was wrapped in gold foil, is a dish for the meat lover in you. It sits in a khorma sauce, and while it was not as tender as lamb shank should be, and it’s a bit of work to cut the meat off the bone, it’s a great deal at £22.75, plus it comes with roast potato mash, papaya pickles, spices, green cardamom and cashews. Very filling. And last but not least is the dessert. indian restaurants are not known for their good desserts, but at Lotus, they do them differently. The Rose Srikhand with Dumroot Halwa – Rose scented yoghurt in a small bowl coupled with white pumpkin wrapped sushi-style – was absolutely delicious. The Orange Rasgulla and Seviyan – Orange Cottage Cheese with Saffron vermicello – was almost too beautiful and colorful to eat, but again, it was very delicious.

    CREDIT: PR Supplied

    Wine pairings are served with every course. It’s Debbie, the restaurant’s sommelier, who is THE expert on which wines go with which dish. So if you know, or don’t, your Force Majeurs and Chenin Blancs from your De Loaches, to the Zinfandels from the Heritage Reserve Zinfandels or the Graciano, Vina Zorzal, Navarra – Debbie will perfectly recommend what’s best for each dish, with glasses all between £6 to £8 each. Go ahead and have a taste test, the recommended wines on the menu go smoothly with their respective meals.

    I’m Head over heels in love with Lotus – it’s a contemporary Indian restaurant located right in the heart of London – and the meal was one of the best I’ve had all year. It’s also easy on the tongue and easy enough on the wallet. This 65 seat restaurant, named after India’s national flower, is truly exquisite and beautiful, just like the flower.

    Chef/Manager Bhaskar Banerjee, who has a culinary career spanning 20 years, masterfully and successfully has won us over.

    RESERVATIONS: +44 (0) 207 839 8797
    EMAIL: enquiries@lotus.london

    Address:
    17 Charing Cross, London WC2H 0EP
    Monday to Sunday
    12:00 – 14:30
    17:00pm – 22.30

    Star Rating: ★★★★★ (explained)

    Cost Rating: ££££ (explained)

    Website: http://www.lotus.london

  • THEATRE REVIEW | Cats – Sheffield Lyceum and National Tour

    ★★★ |Cats

    Based on the poems of T.S. Elliot, Andrew Lloyd Webber’s seminal, record breaking musical tells the tale of the gathering of a tribe of cats for their annual “Jellicle Ball”, where they come together to celebrate who they are, and to be chosen by Old Deuteronomy to be the Jellicle Choice to be reborn. Exploding onto the stage in an abundance of colour, choreography and energy and featuring the songs Memory and Magical Mister Mistoffelees, Cats tells of the joys of being a feline and of being an individual.

    Photo Credit – Alessandro Pinna

     

     

    Cats production is impressive. There is no denying that the make-up and costumes are stunning, albeit the leotards are so tight it is not difficult to see which cats have been neutered. The set, based around a rubbish dump, is static and effective, as it spills out of the stage and into the auditorium, littering the edge of the proscenium arch and the aisles leading into the audience. The sound was crisp, clear and pitched at the perfect volume, with a good balance of orchestra and vocals, allowing for the actors clear diction to be heard with ease. The lighting was well thought out and the whole thing was professionally put together.

    In terms of performances, they were broadly difficult to fault. Featuring a cast of around 30 very talented actors and dancers, there were some inspired pieces of choreography, both in terms of the feline movement employed by the actors and the show-stopping ensemble pieces which were brilliant at times. The show, despite being first performed in 1981, didn’t feel dated at all, and had an air of freshness about it – it has certainly stood the test of time better than some of Lloyd-Webber’s other musicals from that era.

    However, as a show, Cats is a curious beast and even now, I am still not really sure what to make of it. Oddly, and despite its success, it was never a show which really appealed to me. Audiences have lapped up this show for the best part of 35 years, so I was keen to see what has carried this show for so long. There were a few issues with the uneven pacing of the piece throughout; although the second act fared much better than the first. Some of the lyrics and choreography were slightly repetitive and overused and the whole thing felt very surreal indeed. But once you had bought into the premise and suspended your disbelief, the show did hit some highs, and it became clear why Cats has been embraced by the theatre going public. On paper, the show really shouldn’t work; but in reality, it turned out to be nonsense, but really quite fun. Tap dancing cockroaches, cats dressed as dogs and acrobatics aplenty all fed into the slightly odd but absorbing spectacle.

    Despite its surreal quality, Cats turned out to be far more enjoyable than I could have anticipated. It did feel, as I left the theatre, like someone had force fed me cheese and heavily sedated me for two and half hours; but ultimately – and surprisingly for me, it won me over and did leave me feline good.

    Cats is currently at Sheffield Theatres (www.sheffieldtheatres.co.uk) until 15th October 2016 before rounding off its national tour at Milton Keynes and Wimbledon, before heading to Hungary, Dubai and Germany. For details visit www.catsthemusical.com/tour/

     

  • THEATRE REVIEW | Confessional

    THEATRE REVIEW | Confessional

    ★★ | Confessional

    CREDIT: Simon_Annand
    CREDIT: Simon_Annand

    If a play is ‘rarely performed’ or ‘an undiscovered gem’ then be wary. There’s often a good reason for that: it’s usually because it’s not a very good play. “Confessional” was an early draft of Tennessee Williams’ later 1972 play “Small Craft Warnings” and is a sprawling elegiac piece laden with dramatic speeches. It concerns a group of low life characters in a bar in a grotty seaside town. Its main point of interest is for scholars and connoisseurs of his work in that this is the first of Williams’ plays where he felt able to include openly gay characters.

    The bar is populated by the usual suspects that mark Williams’ later works: a drunken and angry woman, a swaggering stud who has a name for his penis, an alcoholic doctor and a washed up older gay man with a boy who’s he picked up at the roadside. They rant, cry, shout and ramble. It’s beautiful in parts and there are poetic moments but on the whole it feels a bit of a mess.

    Director Jack Silver has transposed the action from 1950s American to a pub in Southend in the present day with mixed results. The theatre has been transformed into a pub with the audience dotted around at tables and on banquettes with the actors roaming amongst them. Justin Williams’ set is pitch perfect. This is a pub that you’d probably walk in and walk out of again in a hurry. Sticky looking tables, beer and a burger offers and a sense of dilapidation: it’s a pub we’ve probably all been in and wished we hadn’t. The characters fit in well and you can imagine a pub like this being stalked by enraged beautician Leona yelling at her good for nothing going to seed Chav man Bill and her promiscuous weeping friend Violet.

    Where the concept flounders is the language. Characters talk in a style befitting of 1950s Southern California and use old-fashioned America language that doesn’t translate well to the present day. The Jukebox has mournful violin music that Leona plays on repeat. There’s something distinctly dated about their attitudes and stances too/ It often feels jarring and stylistically wrong.

    The play is still worth seeing for three reasons: the concept, the set and the acting. The cast are universally strong and there’s something magnetic about Lizzie Stanton and Gavin Brocker (and I don’t just mean his too tight clothing or references to his cock which he has named ‘Junior’). The set is a witty and authentic interpretation. The third factor is the concept of the actors having free range. There’s a script and a set and actors. The rest is the actors’ choice on the night. They stand where they want, cry or don’t cry and choose just how dark or how funny the play is on any given night. Surprisingly, this works and there’s a strong chemistry that comes across with a naturalistic feel to the piece in spite of the incongruous language. That’s quite a feat given such lacklustre raw material.

     

    Confessional plays at the Southwark Playhouse until the 29th October

  • RESTAURANT REVIEW | Dirty Bones, Shoreditch

    The Americanisation of East London’s restaurant scene continues with the opening of the Shoreditch branch of Dirty Bones.

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    Dirty Bones has a presence in both Kensington and Carnaby Street, but with the opening of the new Shoreditch location, it cements itself into a scene so hip even the beards have beards. Nestled conveniently steps away from Brick Lane right on very trendy Bethnal Green Road which includes both Dirty Burger and Cowshed restaurants, Dirty Bones corner location is in a perfect spot for passersby to get a whiff of what’s cooking and to be tempted to sample meals that are out of this world.

    Billing itself as ‘New York comfort food served in an environment with the the greatest old school, hip-hop, soul and funk music’, It’s once you’re inside you get the feeling that you’ve stepped into another time and place – high ceilings with a bar that takes centre stage in a room where every table is cozy and comfy in which to settle down and have a great meal. Dirty Bone’s vibe is so mellow that it doesn’t even feel like it’s a restaurant, it feels more like your very wealthy Auntie Bessie’s large living room in a plantation Savannah, Georgia. Dirty Bones has velvet banquettes, comfortably laid back (really laid back) seats and a western-style ambience. But of course, it’s the food that really matters.

    It was hard to decide whether to visit for lunch, dinner or for Sunday Roast, so to try something different I and my companion went for the Sunday Roast. But the Sunday Roast menu is not just about roasts; also on offer is a Flat Iron Steak, Spicy Chicken Burger, Baby Back Ribs, plus The Mac Daddy, and for vegetarians the Spiced Roast Veg Salad. We stuck to the roasts as this is what we fancied. I ordered the Fried Chicken Roast – two pieces (one breast and one drumstick) of spiced buttermilk fried chicken with honey spread on top. Two pieces were definiteIy not enough, but they were just perfectly cooked, brown on the outside and white on the inside, and delectable. It was accompanied, as most roasts are, by a huge smoky paprika Yorkshire pudding, truffle road potatoes, buttermilk mash, green beans, and sweet potato which had a bit of a kick to it. All this for £17. My dining companion went with the Brisket & Ox. The brisket was hidden in the Yorkshire pudding – Quelle surprise – and at £18 a good deal. The brisket and ox were, as you would expect, tender, moist and mouth-watering, and plenty of it, alongside the aforementioned accompaniments. We were suggested a side of the Taleggio (Italian cheese) & Smoked Cheddar Mac N’ Cheese, and we were so glad that we ordered it. It was one of the most authentic Mac ’n’ Cheese dishes I’ve had a long time – thick yellow cheese sauce which was consistently perfect – just yummy.

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    We knew that the roasts would’ve been plenty of food, but as a starter, we did order the Salt & Pepper Squid, and it was just sumptuous! Perfectly cooked, not too chewy or not too hard, with a delicious chipotle aioli sauce drizzled on top to make this dish the star meal. Though at £8 it’s a bit pricey but worth every penny. We wanted to order the Cheeseburger Dumplings but felt that would’ve been too much food, however, the table next to us ordered them, and yes, they are dumplings stuffed with hamburger meat and cheese. Genius! I’ll have them next time.

    I’ll be remiss if I didn’t mention Dirty Bone’s drinks menu because it’s almost a book! My companion sampled quite a few, from the ‘Dirty Mary’ (bloody mary), which she proclaimed it as being very tasty. It was rimmed, surprisingly, not with salt but with crushed pringles. She also went for the Mutt’s Nuts drink which she said was very strong, of course, it would be as it contained Woodford Reserve bourbon along with cinnamon & vanilla infused maple syrup, angostura bitters and a hint of lemon and apple. I went for one of the brunch drinks – the Pine Up – which as you’d guess is pineapple (fresh and juice) with Finlandia Vodka, celery and celery syrup. It was refreshing and fancily served in a long glass. I really wanted to go for the Spiked Iced Coffee – cognac, Mozart Dry Chocolate Spirit, and cream served on ice – but the thought of having a triple espresso drink at 4pm on a Sunday put me off. But Dirty Bones drinks menu really has something for everyone; wine, beer, juices, shakes and soft drinks.

    But it’s the food where Dirty Bone excels. It has such a huge menu depending on which time you go. I plan to go back and try dishes off their Dirty Breakfast menu – the Dirty Bun (sausage and bacon sandwich), Matcha Custard French Toast, short-rib crumpets, and lots more all catch my eye as dishes I really want to try. Their lunch & dinner menu is just as exhaustive where you can try the very popular chicken & waffles or classic burgers and hot dogs or alternatively the £10 lunch options which include a 30 day aged steak, the fried chicken or the spiced roast veg salad. Desserts are also a must. We had the Banana Toblerone-tella Waffles – caramelised banana, blueberry jam, peanut butter gelato and crushed nuts on a freshly baked waffle – just divine and a perfect way to finish a meal. We actually ordered two but the waiter only brought us one – oops.

    Dirty Bones is the perfect restaurant for its perfect location in an environment where the staff and customers, and especially the room, and the food, are very cool. It’s a former Public House with two upper floors, and this Grade II listed building retains much of its original character, including the eye beguiling staircase which leads to the upper floors. Prior to its current use the property traded as The Knave of Clubs pub which can be traced back to 1735. And there is also a top floor where Dirty Bones hopes to make it into a private bar area just in time for holiday Christmas parties.

    The menus at Dirty Bones really has something for everyone, and I plan to go back twice, once to sample their breakfast menu and then again to sample their dinner menu. I can’t wait to get my fingers dirty again!

    Address:
    1 Club Row, London, E1 6JX – 020 7920 6434
    Mon – Wed 8am – 11pm
    Thurs – Fri 8am – 12am
    Sat 9am – 12am
    Sun 9am – 11pm
    *Please note last food orders are available 90 min prior to closing times

    Website: http://www.dirty-bones.com

    Star Rating: ★★★★ (explained)