Tag: UK

  • RESTAURANT REVIEW | Del’Aziz Bermondsey Square

    RESTAURANT REVIEW | Del’Aziz Bermondsey Square

    Not every restaurant in the Old Smoke can claim to reside on top of medieval and Roman ruins, an 18th-century burial ground and an Abbey that once rivaled Westminster’s. Del’Aziz is tucked away in the corner of a smart seven-year-old development that was once occupied by Bermondsey Abbey.

    Del’Aziz Bermondsey Square

    Any eatery in proximity to hipster hangout Bermondsey Street has to be worth their weight in black habits. The trendy-Wendy haunt is lined with uber-cool coffee-houses, contemporary cocktail bars, and bustling bistros, most of which have standards as high as St Mary Magdalen church’s steeple.

    You can see why Middle East and Eastern Mediterranean restaurant Del’Aziz have given themselves quite a substantial nip-and-tuck to keep up with the ever-growing destination boulevard.

    Del’Aziz’s boasts a bar, bakery, and restaurant, which is where we were seated.  The dining area is a mix of turquoise walls, an empire-style chandelier in line with boutique five-armed crystal-drop chandeliers, pink, patent, plastic pillars and lime green chairs.  Had we side stepped into a GymBox spin studio or Jane Fonda’s boudoir circa 1983?  An identity is missing.

    We were chuffed the place wasn’t chocker as the tables either side of us would have learnt a thing of two about girthy u-bends.  My dining compadre’s home bathroom refurb was a hot topic.  A wee bit more space between tables would be nice.

    On recommendation, we kicked proceedings off with a couple of mojitos. When the drinkies arrived we were informed not to stir in the dark rum head thus giving us something to look forward to on the last few slurps. Not overpowered by mint, with enough lime to balance the sugar – the rum top worked.

    To get a sense of the full Middle East experience a mezze platter for two seemed appropriate. Hummus – sesame-esque with a good consistency.  Tzatziki – understated and fresh. Lamb boreck – a clear winner on the board – sweet, cumin-laced lamb wrapped in a crisp and oily filo pastry, the best roll we’d had in a while. Meatballs in a tomato sauce – more flavour in a Bic biro lid – bland. And merguez sausages – heavily packed with chili pepper and harissa shadowing the cumin but a decent banger all the same.

    To accompany the main our waiter lead us in the direction of Northern Italy with a bottle of Poderosa Monte Santu Il Vino Del Pane 2010.  Good choice – dry, full-bodied and energetic with light tannin – a chic racy number.

    For our mains: for me, grilled lamb steak, ‘imam bayildi’ aubergines. The steak was beautifully seared and tender. The gamey flavours were enhanced by onions, garlic, and figs permeating from the aubergines. And for my chum, chicken tagine, preserved lemons, carrot confit, olives and steamed couscous. As soon as the terracotta lid was lifted the citrus aromas could have unblocked the nastiest of bunged up honkers. Sadly, that’s where the excitement ended. The olives were limp and the chicken was cumbersome – it was like eating a Korma without the cream – now where’s the fun in that?

    Del’Aziz Bermondsey Square2

    Del’Aziz’s team are polite, chirpy and well suited to the Bermo-contempo borough.

    The bar area lacked any intimate nooks or segregated sections. But what the bar didn’t have in cosy alcoves it made up for in history. You can still see remains of the Benedictine monastery through the glass tiled floor – worth a butchers.

    To choose your pud you have to walk through the restaurant, past the loos, bar, and kitchen to the ‘bakery’ and choose your bake. This did not please my dining chum – the last time he walked past a kitchen was in Kensington Olympia at Grand Designs Live – he knows there’s one in his house because he overheard the chamber maid make reference to a room with an Aga. A pudding menu might well be in order.

    We shared a pink choc meringue and a blueberry crumb cake. The white with pink swirled meringue would have been better suited as headpiece or bulbous fascinator for Sydney Mardi Gras – maybe that’s where it came from? It was as dry as a cracked heel and missing the chocolate. The cake shared the same attributes and not a berry in sight – they must have caught the same flight.

    A meal for two won’t blow all ya spendies, not all the cakes are wearable and hanging with the Bermo-bohems ain’t such a drag.  Let’s just hope that Del’A hasn’t lost her zizzzzzzz.

     


    REVIEWED BY: Thabian Sutherland
    ADDRESS: Del’Aziz, 11 Bermondsey Square, London SE1 3UN
    TELEPHONE: 020 7407 2991
    EMAIL: bermondsey@delaziz.co.uk
    Price Rating: £££ (Explained)
    Star Rating: ★★★ (Explained)
    Tipping Policy: 12.5% discretionary tip will be added to your bill.

  • Hi-De-Hi Star Barry Howard Dies, 78

    The actor Barry Howard behind one of British comedy’s campest characters Barry Stuart-Hargreaves in Hi-De-Hi! has passed away at the age of 78.

    The actor Barry Howard has passed away at the age of 78. He died from blood cancer.  The actor’s harry Clark agent confirmed the news to the BBC.

    Taking to Twitter she said that she would miss him more than she could say.

    Mr.Howard appeared in the first seven series of Hi-de-Hi! which ran from 1980-86, he played a camp married ballroom dancer.

    The character Barry Stuart-Hargreaves was often the source of ‘is he or isn’t he’ gay jokes on the sitcom. It was never confirmed whether the character was gay or not and Mr Howard left the show after seven series.

    During an interview with The Northern Echo in 2010, he said,

    “I have found it, in all honesty, frustrating because I am, after all, an actor. Casting people always wanted a similar limp-wristed rather fey ‘is he or isn’t he?’ character and I got bored with it all,”

    His on-screen wife Diane Holland also died at the age of 78 in 2009.

    The actor had performed alongside Chris Jarvis in pantos in Bournemouth. Today the CBEEBIES presenter tweeted a tribute the actor calling him a ‘real gent’ and ‘incredibly funny’.

  • PETER WHITTLE | I Have Never Come Across Homophobia In UKIP

    PETER WHITTLE | I Have Never Come Across Homophobia In UKIP

    London’s only gay mayoral candidate has said that he has never come across homophobic in his party, UKIP.

    CREDIT: LondonLive

    Openly gay London mayoral candidate Peter Whittle has told London Live that he’s never heard homophobia in UKIP – despite Councillor David Silvester infamously suggesting that bad weather in the UK was being caused by gay marriage and candidate for cabinet Alan Craig calling LGBT activists the ‘Gaystapo’.

    London Live, the capital’s TV channel, interviewed, Peter Whittle last night for its new weeknight London Mayoral election show, London Votes. Daisy McAndrew, spoke to the UKIP candidate for Mayor of London who suggested he had never heard any homophobia in UKIP.

    Peter also thinks that there is nothing homophobic about his party, even when presented with the controversial remarks from UKIP south west candidate for cabinet, Alan Craig.


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    Alan Craig referred to LGBT activists as the ‘Gaystapo’ in a blog post published in 2011. He said,

    Their gay-rights storm troopers take no prisoners as they annex our wider culture, and hotel owners (here) and (here), registrars (here), magistrates (here), doctors (here), counsellors (here) and (here), foster parents (here), grandparents (here), adoption agencies (here) and traditional street preachers (here) and (here) find themselves crushed under the pink jack-boot.

    CREDIT: LondonLive

    When asked to comment on Mr. Craig’s comments, Mr. Whittle denied that there was homophobia in UKIP saying and said that Mr. Craig was ‘entitled to his own view’.

     “It tends to prove that in fact there is nothing homophobic about my party. I am the only gay candidate standing for mayor.”

    “Ok, I have shared a platform with this guy. I don’t necessarily agree with his remarks, I for example believe in gay marriage. I’m fine with gay marriage. There are people in my party who are not.

    “I am the Mayoral candidate, I’m number one on the list, I have never come across homophobia in UKIP. There are lots of gay people in UKIP, we have our own LGBT section in UKIP.”

    “The guy is entitled to his view.”

    “The party absolutely accepts what the law is now, it’s not even an issue anymore – the reason for that opposition, was never against civil partnerships, ever. They were worried that basically the EU – remember my party  is based on an opposition to the EU, would force churches or what have you through the European Court of Justice to hold ceremonies, it’s actually something more to do with Europe.”

    London Votes, weeknights at 6pm – Freeview 8, YouView 8, Sky 117 and Virgin 159

     

  • THEATRE REVIEW | Doctor Faustus

    ★★★| Doctor Faustus

    Picture Matt Humphrey

    The story of Doctor Faustus, the man who sells his soul to the devil, is an enduring one that translates well to the modern age. People can become elevated to giddy heights and accrue endless riches and advantages in the realms of celebrity and politics through seemingly mysterious and nefarious means. It’s still tempting to wonder what kind of pact they might have made whether spiritual or, more realistically who they’ve trampled on and betrayed along the way. The truth is probably less titillating and more prosaic. Doctor Faustus was originally published over 400 years ago but retains its relevance.

    The original author Christopher Marlowe is an Elizabethan enigma; dying in a much speculated upon pub brawl at the age of 29. His writing contained openly queer characters, complex romantic relationships and overtly homoerotic prose. Was he a gay man, a spy or a wily criminal? The speculation has lasted centuries along with his plays.

    “Doctor Faustus” opens with a gloomy dwelling with a Hieronymus Bosch style twist of hellishness. Dark figures loiter, hands reach around doors and faces are pressed against the windows. Naked figures move forward, blood flows and sedated looking humans in stained underwear creep around the set. Take your eyes off Kit Harrington (which isn’t easy as he’s incredibly handsome) for more than a few seconds and more horrors appear. Figures appear halfway up the walls, lurch out of doorways and materialise as if from nowhere. It’s actually really quite terrifying. This isn’t a production for the feint hearted. The warning list on the way in is quite impressive with a list of what horrors await you. Instead of the usual ‘theatrical haze’ and ‘strobe lighting’ there’s an itinerary that would make Mary Whitehouse turn in her grave.

    Kit Harrington proves that he can really act with an incredibly powerful performance. He’s also almost naked on a few occasions and that’s no bad thing. Jenna Russell (last seen in ‘Grey Gardens’) is on her usual top form as Mephistopheles. There’s also a very able supporting cast, a stunning and cunning set by Soutra Gilmour and appropriately intense sound and lighting design.

    All good so far but sadly the good stuff is very good and the bad stuff is very cringe-worthy. The Elizabethan script works as does the modern script by Colin Teevan but the two don’t blend together well. In fact, they positively jar. The modern allusions to celebrities and politicians are a little painfully awkward and the humour often falls flat. The second act starts with Jenna Russell singing “Bat Out of Hell”. It’s a bizarre beginning but definitely a sight worth witnessing. The action then flails somewhat and the atmosphere is shattered with skits that often feel silly, although fortunately the play always manages to pull itself back.

    Strongly recommended to see some amazing work from the lead actors (provided you can cope with violence, blood, faeces and sex) but ultimately, Dr Faustus fails to deliver all that it promises.

     

    Doctor Faustus plays at the Duke of York’s theatre until 25 June.

     

    @chrisb715

  • THEATRE REVIEW | Funny Girl

    ★★★ | Funny Girl

    CREDIT: Johan Persson

    Is there anything Sheridan Smith can’t do?

    She’s now playing Fanny Brice in the new West End musical Funny Girl, but Smith has done quite a bit in her short 34 years. Already an OBE, Smith has won tons of awards for her work both on stage and on television. She’s won two Laurence Olivier Awards (Legally Blonde in 2011 and Flare Path in 2012) and one television BAFTA (Mrs. Biggs in 2013). Smith has also been featured in several films in the past few years, including the recent The Huntsman: Winter’s War and 2013’s Powder Room and The Harry Hill Movie. But it’s her role as Brice in Funny Girl that’s bringing Smith more plaudits and acclaim.

    In a role Smith starred in last year to sell out crowds at the Menier Chocolate Factory, it’s now transferred to the Savoy Theatre for a short 6 month run. Smith plays Brice, a role which made Barbra Streisand famous (and which won her a Tony and an Oscar), so Smith has huge shoes to follow. And does she fill them? Not even close.

    Fanny Brice is the true story of a young Brooklyn born Jewish girl with huge stage aspirations. The real Brice was born in 1891 to Hungarian immigrants who had arrived to the US as children but managed to make a life for themselves and their children in Brooklyn. So Smith’s job is to make you forget Streisand’s Brice and reinvent the character to make it her own. And she does in her own way. She’s charming and lovely and can sure belt out a tune. Songs made extremely memorable by Streisand – ‘People’ and ‘Don’t Rain on My Parade’ – are sung by Smith, good enough for this production, but not very memorable. And we’re supposed to believe that the handsome, debonair, charming (and con man) Nick Arnstein (Darius Campbell – perfect in the role) falls in love with her and not for her money. She’s so in love with him that she certainly can put up with his gambling habits and dubious investments. But even Brice can’t figure why he’s fallen for her, and neither can the audience.

    Brice does find fame and fortune as a performer, with a proud Jewish mother (Marilyn Cutts) by her side all the way, living her dream by being employed by the great Florenz Zlegfield (Bruce Montague). But the crux of the show is the relationship between Brice and Arnstein, it’s a volatile one but not quite believable, and it’s a shame that the show isn’t more about Brice’s talent and less about the relationship. Smith is given her moments, and she gives it all she’s got, a bit over the top at times (her Brooklyn Jewish accent is a bit over exaggerated at times).

    There are no amazing sets, and no showstopping numbers as in most musicals. But great costumes and an excellent supporting cast, with classic musical numbers, makes Funny Girl worth a look.

    It’s not a very memorable production but it’s clearly a star vehicle for Smith, and she makes it her own.

    Funny Girl plays at the Savoy Theatre until October 2016, 0844 871 7687

  • THEATRE REVIEW | FOLK

    Holy, Unholy and everything in between. Folk was heavenly humorous but had also many notes of devilish charm that tickled many funny bones in the audience.

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  • THEATRE REVIEW | My Mother Said I Never Should

    ★★★★ | My Mother Said I Never Should

    CREDIT: Savannah Photographic

    My Mother Said I Never Should is an award winning debut play written when the author was just 25. It was chosen as one of the most significant plays of the twentieth century by the National Theatre and is, apparently, one of the most performed plays by a female artist. Yet, strangely it hasn’t been seen on a major London stage since the 1980s. Maybe plays about the relationships between women still don’t have commercial appeal? It’s a shame that it’s not been revived before but director Paul Robinson and producer Tara Finney have more than rectified that and have resurrected a thing of beauty and power.

    The stage is almost bare with stark white backgrounds and hints of furniture. Piles of television sets suggest eras and portions of scenery, helping to frame the action in the non-linear structure. The four women start the play as sinister schoolgirls (which could be excruciating to watch but is actually cleverly done), chanting rhymes and plotting to kill mummy. The play then evolves into a series of scenes from the lives of four generations of women in Manchester helped by subtle lighting and sound changes.

     


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    It’s a standard potboiler plot that could be found in a fat Catherine Cookson novel or a television soap opera: difficult marriages, terminal illness and illegitimate children. The script is cleverly written, though, and although the storyline veers towards mawkish sentimentality at times it always steers back and feels lifelike and moving rather than trite.

    Maureen Lipman is magnificent as Doris, a fearsome mother, grandmother and great grandmother. There’s depth to her character as she progresses through stern 1940s mother in the Blitz through to a more benign and charitable but still waspish old lady sunbathing with her pop socks off in the garden. She delivers her lines with skill and inhabits the role beautifully. Caroline Faber is convincing as her at times put upon daughter. Katie Brayben (who played Carole King to critical acclaim in the musical Beautiful) portrays Jackie with skilful restraint and Serena Manteghi is suitably boorish yet ultimately wise as Rosie.

    The play will resonant with a wide variety of people. Provided you had a mother/grandmother/aunt/sister or daughter then it’ll be hard not to reflect on your own experiences whilst you watch this. The yearning to be loved and approved of is innate and powerful. Don’t expect a tragic, visceral weepy though. There are so many comedic moments and killer lines that the blow of the deeper hurts being presented is softened suitably.

    This is a strong production with a skilled cast and high production values and is a welcome return to form for The St James Theatre. Highly recommended entertainment with underlying resonance.

    My Mother Said I Never Should plays at the St James Theatre, Victoria until 21st May 2016, 0844 264 2140

     

  • The Hottest Musical You’ll See This Spring

    The Hottest Musical You’ll See This Spring

    Now we don’t usually run much theatre preview content here at THEGAYUK, but when this little promo hit our desks we only thought of you…

    Devilish photo 1

    Dear Reader… Just feast your eyes on this promo for a brand new show called Devilish. It’s a new British musical with music by BB Cooper, and book and lyrics by Chris Burgess starring Alex Green (the guy in the photo) as Angel.

    Once Angel has savoured the delights of Clapham North, London, he decides he wants to become a human. And thus starts his odyssey through a metropolitan mire of corruption.

    Cute and innocent, he is lured into appearing on a ‘Freak Idol’ TV show and is lusted after by fans everywhere. 

    We can’t imagine why <insert horny devil face>


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    It was inspired by John Ruskin’s comment that an angel appearing on earth would be shot on sight. H.G Wells wrote a novel called ‘The Wonderful Visit’ based on this observation, but now a new team of writers offer their musical take on this premise.


    ALSO READ: Patrick Stewart dragged up and it’s slightly amazing…

    ALSO READ: David Gandy’s Instagram is giving us some serious feels.


     

    The show begins on May 10th at the Landor Theatre

  • OP ED: In The Bar Of A Tokyo Hotel By Tennessee Williams Lethal Lounge Lizardry!

    Ever felt the fabulous joys of faux-suicide? Ever wanted to? Arguably, Peter Pan said it best; ‘To die will be an awfully big adventure’. Damn right.

    No wonder gay art-gods galore have jacked, inhaled or orally abused hardcore narcotics and been half in love with easeful death. And, truthfully, what’s not to like? What paltry social thrills can possibly beat the incomparable rush of cheating death by mere micrograms again and again? It’s faux-suicide as a bizarre, repeat leisure option, the manic craving for ultimate euphoria trumping possible fatality every time. An intoxicating, irresistible dynamic, it’s one squarely shaping the brilliant, barbiturate addict core of an incomparable gay dramatist – Tennessee Williams. Time and again, Williams’ protagonists ache for a transcendent escape, and time and again, mundane necessity intervenes.

    But forget clichéd preconceptions of blowsy, theatrical transvestism, of Tennessee ventriloquising unresolved angst and frantic, female denials of time and lost desirability via his leading ladies. The real Tennessee, as acclaimed director Robert Chevara’s astonishing revival makes clear, is as savagely modernist as uncompromising, enfant terrible Sarah Kane. Especially, post-1957 and a chance, street-walking meeting with gay maverick author Yukio Mishima, Williams’ language became a forensic instrument of lethal brevity. Or, more probably, the meeting simply reactivated a pre-existing precision; Williams’ first play, Not About Nightingales, has a demotic bite worthy of Harold Pinter.

    So forget Blanche Dubois’ ‘kindness of strangers’; this set-up’s as brutal as a gangland massacre, with no baroque, hothouse excess in speech or decor. A ravishingly raked, minimalist set comprises a full-length bar back-stopped with disquieting, lava-lamp patterns in queasy motion. It’s an aptly sinister, imminent emotional killing field for William’s cast, celebrity artist Mark and viciously embittered wife, Miriam.

    Appropriately – given William’s lifelong adoration of feminine beguilement – Miriam’s given the bloodiest share of the verbal meat, which, quite meticulously, she tears to vindictive shreds. Bored, and blatantly sexually promiscuous, she’s superbly played by vintage Stephen Berkoff muse Linda Marlowe, as severely, facially elegant as an Egon Schiele sketch.

     


     

    ALSO READ: THEATRE REVIEW | In A Bar In A Tokyo Hotel

     


     

    But crucially, the full potency of Williams’ witches’ brew only fully gels with one truculent ingredient – Mark. Played with bedraggled magnificence by David Whitworth in a suit spattered with kinetic, Jackson Pollack-style paint splashes, he’s an alcoholic void howling for impossible sublimity. Hopelessly shipwrecked on the shores of his own, hugely self-denigrated talent, vain, manic and despairing, he completes tonight’s savagely theatrical autopsy.

    It’s uncomfortable viewing, of course; almost hateful, even, as a dead, but co-dependent marriage fuels impotent speech drained of love, life or hope. All shot-gun, gnomic haikus, Mark and Miriam are plainly the warring sides of Williams’ psyche, his most shockingly direct self-portrait yet. But never remotely predictable – even in his least assured work – Williams suddenly extends this brutal marriage, implicating audiences lounging imperiously smug offstage. Shockingly, we’re immediately complicit in a vile, incest ménage of pointless sex, vapid euphoria and maddeningly absent, inner meaning.

    Still – to quote two infamous, patron saints of mediocrity – we’ve only just begun. For Williams, a Marquis de Sade of self-recrimination, this is barely entry-level abuse. If the semantic violence, so far, has lashed like a frenzied, sexually-crazed serial killer, the tone, the comportment, has been impeccably restrained. Almost, it’s old-world depravity, as seductive as Truman Capote elisions, a constant slippage of imminent catastrophe between word and action tautly drawn throughout. Then – with no prior warning – the directorial gloves slip off with the shattering force of a guillotine decapitation.

    Mark, in cardiac arrest, dies onstage, and Miriam, her fixed rock irretrievably gone, instantly collapses inside herself. Stark, brutal and visceral, it’s an ejected, projectile pregnancy moment, all possible futures splashed bloody and impotent wall to emotional wall. In one indelible, theatrical moment for the ages – Miriam, utterly vacant, declaring ‘I have no plans and nowhere to go’ – director Robert Chevara creates a harrowing tour-de force worthy of Samuel Beckett at his bleakest. Intriguingly, however, one suspects Chevara’s barely begun to hit his interpretive stride, and the best – wherever it may lead – is surely yet to come.

     

    by Fraulein Sasha de Suinn | @MsSashaDarling

     

    Opinions expressed in this article may not reflect those of THEGAYUK, its management or editorial teams. If you’d like to comment or write a comment, opinion or blog piece, please click here.

  • NHS Will Now Reconsider PrEP After Legal Threat From AIDs Charity

    The NHS in England has said it will now reconsider its position on PrEP prescription for gay men and other high risk groups after a legal threat from leading AIDs charity, the National AIDS Trust (NAT).

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