THEGAYUK

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  • Book tickets to see Mamma Mia, The Musical at The Brighton Centre

    Tickets for Mamma Mia, The Musical at The Brighton Centre are available to buy today.

    Book tickets to see Mamma Mia, The Musical at The Brighton Centre

    What is Mamma Mia About?

    Sophie is determined to have her father walk her down the aisle at her forthcoming wedding. After finding out that there are three potential guys who may be her father, she invites them all to the forthcoming nuptials; but will she find out which one really is her father, and how will her mother react when three of her former lovers all turn up unexpectedly?

    BOOK TICKETS

    RUN DATES

    16th August – 3rd September 2017

    Our review

    ★★★

    The real star of the show is the music, and with a soundtrack which plays out like your ABBA Gold CD, there are more than a few songs here that you will know every word to. There are some storming numbers, which work really well; “Money. Money, Money”, “Mamma Mia” and “Does Your Mother Know” are good ensemble pieces, and the collision of the stag and hen do’s to “Voulez Vous” was an enjoyable highlight; with this show reminding you of just how good ABBA really were. (Paul Szabo)

    Watch a clip from Mamma Mia UK Tour

     

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  • THEATRE REVIEW | Mamma Mia, Brighton Centre

    ★★★| Mamma Mia 2017 National UK Tour

    THEATRE REVIEW | Mamma Mia, Brighton Centre

    Sophie is determined to have her father walk her down the aisle at her forthcoming wedding. After finding out that there are three potential guys who may be her father, she invites them all to the forthcoming nuptials; but will she find out which one really is her father, and how will her mother react when three of her former lovers all turn up unexpectedly?

    Currently, on its first ever UK tour, Mamma Mia is a show which needs little introduction. Based around the hit songs of Abba, the show has been a phenomenon for many years and continues to pack out theatres with its sunny setting, perfect pop and feel-good factor.

    The show feels as warm as the weather in the Greek setting to the story, with a set made up of a backdrop of brilliant blues and two moveable parts to the set which transforms the locations of the story very well. The lighting design is well conceived, the costumes include some spandex and stomping platform boots, and the whole thing is fairly seamless in its presentation.

    Sadly, for such a slick and polished production, the lead cast was disappointing; with both the acting and singing not being of a standard one would expect from such a huge show. Someone in the foyer joked “at least we won’t have to listen to Pierce Bronson sing tonight” (referring to his much-maligned performance in the film version of the show); but at times, his dulcet tones may have been a blessing. It is the ensemble cast who really shone in terms of their enthusiasm, singing and dancing; with more gorgeous gals and hunks in trunks than you can shake a stick at; and an abundance of muscular and ridiculously attractive young men in the ensemble with vast amounts of six packs, biceps and perfect pecs on display.

    But the real star of the show is the music, and with a soundtrack which plays out like your ABBA Gold CD, there are more than a few songs here that you will know every word to. There are some storming numbers, which work really well; “Money. Money, Money”, “Mamma Mia” and “Does Your Mother Know” are good ensemble pieces, and the collision of the stag and hen do’s to “Voulez Vous” was an enjoyable highlight; with this show reminding you of just how good ABBA really were.

    But where the show really succeeds is in the fact that it remains an absolute crowd-pleaser and presents itself with a real sense of fun. It’s a show which cranks up the camp, ditches the story and plot and goes all out to enjoy itself. It’s not perfect by any stretch, but by the time the crowd are on their feet singing and dancing at the end, you know that you have had a good couple of hours of escapism and managed to kick-start your summer.

    Mamma Mia plays at the Brighton Centre until 3rd September 2017

    • Review is taken from the Sheffield Theatres production.

  • One of London’s most popular gay pubs, Molly Moggs, is closing AGAIN

    After just reopening, the famous landmark pub, Molly Moggs is set to close again in FIVE days.

    The shutters were off at Molly Moggs, but now the ever popular pub, one of the must go to bars in London is due to close again the second time this year after it was initially closed in March.

    Taking to the official Facebook page, the current management said,

    ” I’m sorry to officially announce that the end is nigh. Thanks to everyone who signed our petitions. It seems hopeful at the moment that the management coming in are going to keep cabaret going – I’m sure this is all down to your contributions and representations so I really can’t thank you enough. In the meantime, the Moggs will close next Sunday the 20th of August and we’re having a big knees up over the closing weekend to send her off in style. At least this time we’ll be able to say goodbye properly”.

    Molly Moggs joins a number of high profile LGBT+ venues across London to close in recent years. THEGAYUK.com has accounted for around 116 venues which have closed since the year 2000. The Lost LGBT Scene project, which was launched last month is a way to ensure the memory of the venues that have closed lives on.

    It looks as though the famous pub will re-open but under a new brand, called The Compton Cross. A recent petition outlined that campaigners were asking the pub’s owners, the Marmalade Pub Group to leave the pub as is and not to change the soul of the venue, calling it a too”precious a resource to lose”.

    Out cry over proposed changes

    In a statement about the proposed changes to Molly Moggs, a statement on the Facebook page said,

    “The venue is unique in London. Although it hosts drag seven nights a week, and although it largely attracts LGBT customers, it is a very mixed bar where everyone is welcomed. The quality of the performances it illicits from the drag queens is also very special as it is such a small venue and nowhere else offers them such intimacy with the audience. This is something to be treasured not frittered away to make way for a cocktail bar.

    “I genuinely feel that your allusion to LGBT support is opportunistic at best – I guess you’ll put a rainbow flag in the window and hope the community will support you. Thankfully, it isn’t that straightforward…

    “A petition has been started to show the strength of feeling out there – it already has over 100 signatories. The Moggs is valued not especially for its position but for the atmosphere and shows that it currently offers. Let me assure you that no-one, yes NO-ONE, wants the Compton Cross and we will fight to keep the Moggs and everything it stands for in inclusivity and warmth of welcome as far as we possibly can. The only reason it closed in March was mismanagement but with the new team in place and the strength of support we have from across the scene I believe it can continue to run successfully just as it is thank you.

    “In conclusion, can I plead with you to rethink your plans and just say – it it ain’t broke don’t try and fix it…”

  • MURDERER: Man found guilty of murdering a gay man in London

    A man who violently attacked his victim and left him for dead in a central London park has been found guilty of murder, he is to be sentenced later this month.

    Hani Khalaf, 22 (8.11.94), of no fixed address, was found guilty on Friday, 11 August of the murder of 62-year-old Jairo Medina following a trial at the Old Bailey.

    He will appear at the same court for sentencing on Thursday, 24 August.

    The jury heard how on a summer’s night in August 2016 Mr Medina, a Colombian national, was brutally attacked, robbed and left to die in Hyde Park.

    Mr Medina, who worked as a residential carer and was described by his colleagues as the best carer they ever had, left his home in Chelsea on 11 August 2016 telling his brother he was popping out to get some fresh air and would be back later.

    He took a bus to the Marble Arch area and was captured on CCTV at around 23:00hrs in a convenience store in the company of Khalaf.

    The two bought some items, left the store and then made their way into Hyde Park. It is unknown precisely what happened while Mr Medina and Khalaf were in the park but at some point Khalaf turned on his victim.

    Blunt Force Trauma

    Mr Medina suffered severe injuries after being punched and kicked by Khalaf, resulting in numerous broken bones including fractured ribs and trauma to his head.

    A post-mortem examination on 13 August at Westminster Mortuary gave cause of death as blunt force trauma.

    As Mr Medina lay dying on the ground, Khalaf stole his rucksack and fled the scene. He rifled through the bag, emptying and dropping a wallet as well as taking a mobile phone. He left a trail of abandoned items as he hastily made his escape, heading in the direction of Speakers Corner.

    At 00:44hrs on 12 August Khalaf boarded a bus from Edgware Road and got off moments later further along the road.

    Shortly before 02:30hrs Khalaf was captured on CCTV again in Edgware Road, making his way back to Marble Arch but by this time had changed most of his clothing, keeping his shoes, belt and watch.

    The next sighting of Khalaf was at 05:11hrs as he boarded a bus to Streatham and travelled all the way to the end of the line. Nine minutes after arriving in Streatham he boarded a bus heading in the opposite direction, where he eventually got off at Regent Street shortly before 07:00hrs.

    Grim Discovery

    Whilst Khalaf was riding the bus network, a Hyde Park groundsman came across Mr Medina’s body near the mosaic to commemorate The Reformers’ Tree at around 05:45hrs. Police were called and Mr Medina was pronounced dead at the scene. A murder investigation was launched.

    Approximately 12 hours after the vicious attack Khalaf made his way to a mobile and computer shop in Kilburn where he tried to sell Mr Medina’s phone. The store tested the phone but refused to buy it as it had a cracked screen and Khalaf left.

    Detectives carried out enquiries and established that Mr Medina’s phone had been activated in the store. They were able to obtain CCTV footage of Khalaf there.

    Arrested for other crimes

    Six days later Khalaf was arrested for an unrelated matter. Officers immediately recognised him as the person who was with Mr Medina prior to his death and Khalaf was arrested for murder.

    A forensic examination of Khalaf’s clothing revealed Mr Medina’s DNA on his watch and belt. Khalaf’s DNA was also found on the rucksack abandoned at the scene.

    Khalaf was subsequently charged.

    Detective Chief Inspector Nicola Wall, of the Homicide and Major Crime Command, said,

    “Jairo Medina was a kind and gentle man who dedicated his life to caring for others. On that evening in August last year, he went out to socialise in the Hyde Park area. There he encountered Hani Khalaf, who was to viciously assault and rob him before leaving him to die in a remote part of the park. We are pleased that such a dangerous individual is now in custody for what he did and hopefully this may be of some comfort to Jairo’s family and friends.

    “We believe that robbery was the motive behind the murder.

    “In the very early stages of the investigation we realised that Jairo was an openly gay man who liked to socialise in and around Hyde Park. Our investigation received a lot of support and assistance from representatives of the LGBT community who work alongside the local police in Westminster. I would like to acknowledge their support in helping us achieve justice today.”

    Report from The Metropolitan Police

  • THEATRE REVIEW | The Curious Incident Of The Dog In The Night-Time, King’s Theatre Glasgow

    ★★★ | The Curious Incident Of The Dog In The Night-Time, King’s Theatre Glasgow

    REVIEW | The Curious Incident Of The Dog In The Night-Time, Kings Theatre Glasgow

    Christopher Boone, a 15-year-old boy, discovers that his neighbour’s dog, Wellington, has been killed by someone (the poor dog having been stabbed with a garden fork), and sets off to find out who the culprit is. But Christopher has Asperger’s syndrome, which makes his perception and functioning very different to other boys his age and as the truth behind Wellington’s death starts to be revealed, it leads Christopher to embark on a remarkable adventure.

    The show is based on the hugely successful book by Mark Haddon and has been a West End and Broadway hit. Utilising a virtually empty stage, the presentation of the show was intriguing, using screens on the back and sides of the stage, almost framing the show in a cube, reflective of Christopher’s constraints in his functioning. Lights flicker like the firing of neurons in his brain, and black and white projections are used to show both his thought process and to set the scene. The show, like the book, is written from Christopher’s point of view and the presentation effectively places the audience members squarely into the centre of his mind and thoughts. The simplicity of the set is reflective of the way in which Christopher perceives the world and worked very well. There were pieces of carefully choreographed movement throughout, and the scene where Christopher arrives in London and is overwhelmed by the overstimulation of his environment is very well done. In this show, less certainly is more, and the monochrome set nicely mirrored Christopher’s rather binary thinking.

    But placing the style and presentation to one side, the most impressive aspect of the show was the central performance of Scott Reid. Reid’s portrayal of Christopher Boone was highly accomplished – mixing the complexities of the characters personality, his physical traits and a childlike innocence which combined to provide a rounded and believable performance

    The show, and in particular, the first act, is very well written, with a script which imports large chunks of text from the book to provide a faithful adaptation of the source material. Despite being bleak at times, the show was filled with gentle humour; and created a world with a myriad of characters that come in and out of Christopher’s life which nestle alongside the well-crafted moments of dramatic tension and emotionally powerful scenes.

    The show has won a slew of awards, including 7 Olivier Awards and 5 Tony Awards, and it is easy to see why. There is a lot of depth to the play, exploring the adult world of interpersonal relationships through a simplistic and innocent perspective.

    The Curious Incident of the Dog in the Night-time is playing at the King’s Theatre Glasgow until the 19th August 2017

    • Review taken from Sheffield production.

  • Man left with serious facial injuries after homophobic assault

    A young man has been left with “serious” facial injuries after a homophobic hate crime in the Scottish city of Glasgow.

    Man left with serious facial injuries after homophobic assault

    A 22-year-old man in Glasgow was attacked whilst walking with a friend on Kersland Street near to Great Western Road in the early morning on Wednesday. His friend was allegedly subjected to homophobic abuse by another man who they did not know.

    The attack comes just a week before Glasgow Pride which is due to take place in the city centre.

    When the victim tried to intervene he was reportedly attacked by the suspect. The victim was taken to the Queen Elizabeth University Hospital where his injuries were treated.

    The suspect is described as white and in his early 20s and wearing a black top with black tracksuit bottoms.

    He was accompanied by a woman in her early 20s, 5ft6 in height and with shoulder length blonde hair.

    They were last seen walking east along Great Western Road.

    Detective Constable Stuart McDonald from Drumchapel CID said,

    “This despicable individual not only subjected an innocent man to homophobic abuse, but also assaulted his friend when he came to his aid.

    “This type of behaviour is absolutely unacceptable and I would appeal to anyone who either witnessed the incident, or saw the man and woman described above, to please get in touch.”

    Anyone with information is asked to contact officers at Drumchapel CID via 101 and quote incident number 0268 of Wednesday 9th August 2017.

    Alternatively, you can call Crimestoppers on 0800 555 111 where details can be given in confidence.

  • Man who set fire to London gay bar jailed

    A man who deliberately set fire to a busy Clapham bar has been jailed.

    Jason Fossett, 45 (28.10.71) of Portland Road, SE25, was sentenced at Inner London Crown Court on Friday, 4 August to life imprisonment, to serve a minimum of three years and 244 days.

    He pleaded guilty to arson with intent to endanger life at the same court on Wednesday, 3 May.

    On Monday, 20 March, at about 02:45hrs, the duty manager of the Two Brewers on Clapham High Street, SW4, was locking up the pub. When he went to lock the side exit door, which leads out into Prescott Place, he noticed a man in the alleyway standing near the wall as if he was urinating.

    The manager told the man to move away from the building and he went back inside the pub. A few minutes later the manager could smell smoke and he went outside to investigate. He then noticed a fire by the side exit door where the man he told to move away had been standing.

    A routine police patrol was passing by the pub at that time and came across the fire, but the suspect had already fled the scene.

    Enquiries were carried out by PC Paul Waterman, the dedicated ward officer for Clapham Town, alongside officers from Lambeth CID.

    PC Waterman reviewed the bar’s CCTV which showed the suspect, as identified by the bar manager, ordering drinks at about 02:00hrs on Monday, 20 March. It then showed the suspect leaving the bar at about 02:15hrs and entering Prescott Place.

    The suspect is seen stacking numerous rubbish bags against the fire exit over an 18 minute period before setting fire to the bags and leaving. Within 80 seconds, the rubbish is alight.

    The CCTV showed that the suspect paid for the drinks with a bank card. Enquiries were carried out on the card which showed the holder to be Fossett.

    Officers arrested Fossett on Monday, 3 April. At the time of his arrest, he was wearing similar clothes to that of the person in the CCTV. Officers also searched his home and found a red leather satchel that matched the one on the CCTV, as well as receipts from the Two Brewers for that night.

    Fossett admitted to being at the Two Brewers but claimed he could not remember anything of the evening after having a couple of drinks. He was charged on Tuesday, 4 April.

    The court heard that Fossett has previous convictions for arson with intent to endanger life where he has piled rubbish up outside a building and set-fire to it. In 2004, Fossett was jailed for eight years for arson with intent to endanger life after targeting the same venue as in this case – the Two Brewers.

    Fossett’s motivation for targeting the Two Brewers is not known, however, there is no suggestion that it was a hate crime.

    PC Paul Waterman, said,

    “Fossett is clearly a dangerous character who deliberately went out of his way to set fire to the bar in a carefully calculated attack.

    “It was sheer luck that the fire was spotted in its early stages to prevent any further damage or anyone sustaining any injuries.

    “By working with my colleagues in Lambeth CID and with the cooperation and assistance of staff from the Two Brewers, we ensured that Fossett was brought to justice and has been put behind bars.

    “I hope Fossett uses his time behind bars to reflect on his actions.”

    Reporting from The Metropolitan Police

  • THEATRE REVIEW | Evita, Phoenix Theatre, London

    ★★★★ | Evita


    The classic musical ‘Evita’ has returned to the West End to mark the 65th anniversary of the death of Eva Perón, the woman who was revered in Argentina not only as the wife of that country’s President Juan Perón but also as a woman who was perhaps more powerful than her husband.

    ‘Evita’ takes us through the highs and many lows of Eva Perón. Played by Emma Hatton (‘Wicked’), ‘Evita’ begins somberly at her funeral, attendees dressed in black – and this sets the tone for the first 30 minutes of this show – dark, deep and depressing. With lyrics by Tim Rice and Music by Andrew Lloyd Webber, ‘Evita’ finally finds it feet with the rise of Eva, which was her real name. She becomes as actress in Buenos Aires, but she had bigger ambitions, ambitions that would lead her to meet Juan Perón at a party she’s helped to organize to raise money for San Juan, Argentina, which was devastated by an earthquake. Juan, played by Kevin Stephen Jones, falls head over heals with Eva – he’s met his match – she’s just as strong and confident as he is. But it’s the public that takes to her – they love her and see her as a queen and perhaps more – perhaps as a leader for their country. But as history tells us, Eva Perón never got to see her 34th birthday, she died at the age of 33 in 1952, and ‘Evita’ the musical takes us through this journey, with the help of narrator Che (excellently played and sung by Gian Marc Schiaretti).

    ‘Evita’ is pure musical joy. There’s not one word in the show that is spoken – the plot is all told in song, and what great songs they are, 39 years after they were first written. This includes the lovely melodies of ‘I’d be Surprisingly good for you’ – when Evita initially meets Juan; to the rousing ‘A New Argentina;’ and the show-stopping ’On the Balcony of Casa Rosado’ where we see, in a breathtaking scene, Evita speaking (singing) to the crowd from the balcony of the palace; also the classic ‘Don’t Cry for Me Argentina’ where Eva sings in the hospital after her fatal diagnosis; and the fantastic and very memorable ‘And the Money Keeps Rolling In’ where Schiaretti really shines, and proves, that he is the true star of this show. As Che, he literally steals the spotlight from Hatton. Schiaretti is a regular concert performer and has performed throughout Europe and has played Tarzan on stage – ‘Evita’ will definitely raise his profile. The rest of the production is just fine, with an excellent supporting cast (especially Sarah O’Connor as the mistress of the President who Eva replaces, and holds her own in the solo number ‘Another Suitcase in Another Hall.’) ‘Evita’ is only on for three months, so if you’ve never seen it before (this is third version I’ve seen, though I’m a bit too young to have seen the original version which made Elaine Paige a star in London and Patti Lupone a star in New York), I urge you to see it. While Hatton is very good, Schiaretti is amazing. And in this touring revival, directed by Bob Tomson and Bill Kenwright, is staged perfectly in the cozy Phoenix Theatre.

    For tickets, please go to:

    http://www.atgtickets.com/venues/phoenix-theatre/

    Photo provided by Emma Holland PR

  • THEATRE REVIEW | The Play That Goes Wrong, Cambridge Arts Theatre

    ★★★★★ – Dangerous, jaw-dropping and comedy genius!

    Mischief Theatre, in role as The Cornley Polytechnic Drama Society, brought to the Cambridge Arts Theatre stage an uproariously funny murder mystery entitled The Murder at Haversham Manor and it went south, literally.

    The Play That Goes Wrong was a comedic masterpiece, like its successor Peter Pan, Goes Wrong, with dangerous and risky tricks that left audiences clutching on to their seats as pieces of stage fell off and got thrown around, sometimes missing the actors by inches. The actors were so efficient in everything they did, from balancing three objects across two body parts, to expertly delivering their lines while dodging canvasses, candelabras and each other. What was sublime about The Play That Goes Wrong was that if ever you have seen an amateur, or a badly produced professional, play, this show embodies the different mistakes and disasters that have occurred in the former shows. There’ll be a moment where you cannot help but recall a bad production where sets had fallen down or actors had genuinely forgotten lines and asked for “line” throughout entire speeches.

    Jason Callender who plays Jonathan playing Charles Haversham was brilliant. His gag was always turning up at the wrong point in the play, revealing the ending every time. It was very comedic, too, when Jonathan was rarely allowed to play dead, for actors clumsily walked on him, sat on him, or fell on him. He made the audience laugh at his every entrance, and I chiefly loved his sneaking off stage wriggling subtly on the floor as if to kid the audience that we couldn’t see him depart. Patrick Warner who plays Chris playing Inspector Carter was a comedy genius. Every reaction was crafted to perfection, and his lines were well-timed with the action. The audience hung on to every word he said. He played the director too, so it was particularly hilarious when, under his breath, he would mutter a direction to understudies that had come on to fill in for a part. Ham acting is a feature often prominent in amateur murder mystery productions, and Alastair Kirton playing Max playing Cecil Haversham did a sterling job showcasing this. Max’s sawing the air with his hands and over dramatising his role while stopping to smile as the audience laughed during one of his lines, was incredibly entertaining. When Max changed role to be the Gardener he flashed his clothes to tell it was still him, and that he had returned, but as a different character. Absolutely hilarious. Lastly, Natasha Culley as Sandra Wilkinson enacting the role of Florence Colleymoore was a treat. Sandra was everything that had ever gone wrong with acting all sewn together in one actress. Her ticks, shallow demeanour, and not able to improvise without direction, was a great feast for the senses. Her overproduction of movement as she spoke, too, was hilarious. Overall, each cast member contributed to one of funniest nights I’ve had this year.

    The Play That Goes Wrong was especially entertaining for the set was a safety hazard, as the study, built atop of the drawing room, with no rails or support, collapsed gradually while the actors were still on there. It eventually fell down while an actor was under it, but the dexterity by which the actors moved and positioned themselves, made the accidents sort of safe, and we could exhale once again.

    Mischief Theatre is like Alton Towers, you queue to get on, you get several scares, and then you want to hop on again and again.

    The Play That Goes Wrong is playing at the Cambridge Arts Theatre, until 12th August 2017

    Originally reviewed at the Birmingham Rep

  • THEATRE REVIEW | Mamma Mia, Bournemouth Pavilion Theatre

    ★★★| Mamma Mia 2017 National UK Tour

    THEATRE REVIEW | Mamma Mia, Bournemouth Pavilion Theatre

    Sophie is determined to have her father walk her down the aisle at her forthcoming wedding. After finding out that there are three potential guys who may be her father, she invites them all to the forthcoming nuptials; but will she find out which one really is her father, and how will her mother react when three of her former lovers all turn up unexpectedly?

    Currently on its first ever UK tour, Mamma Mia is a show which needs little introduction. Based around the hit songs of Abba, the show has been a phenomenon for many years and continues to pack out theatres with its sunny setting, perfect pop and feel-good factor.

    The show feels as warm as the weather in the Greek setting to the story, with a set made up of a backdrop of brilliant blues and two moveable parts to the set which transforms the locations of the story very well. The lighting design is well conceived, the costumes include some spandex and stomping platform boots, and the whole thing is fairly seamless in its presentation.

    Sadly, for such a slick and polished production, the lead cast was disappointing; with both the acting and singing not being of a standard one would expect from such a huge show. Someone in the foyer joked “at least we won’t have to listen to Pierce Bronson sing tonight” (referring to his much-maligned performance in the film version of the show); but at times, his dulcet tones may have been a blessing. It is the ensemble cast who really shone in terms of their enthusiasm, singing and dancing; with more gorgeous gals and hunks in trunks than you can shake a stick at; and an abundance of muscular and ridiculously attractive young men in the ensemble with vast amounts of six packs, biceps and perfect pecs on display.

    But the real star of the show is the music, and with a soundtrack which plays out like your ABBA Gold CD, there are more than a few songs here that you will know every word to. There are some storming numbers, which work really well; “Money. Money, Money”, “Mamma Mia” and “Does Your Mother Know” are good ensemble pieces, and the collision of the stag and hen do’s to “Voulez Vous” was an enjoyable highlight; with this show reminding you of just how good ABBA really were.

    But where the show really succeeds is in the fact that it remains an absolute crowd-pleaser and presents itself with a real sense of fun. It’s a show which cranks up the camp, ditches the story and plot and goes all out to enjoy itself. It’s not perfect by any stretch, but by the time the crowd are on their feet singing and dancing at the end, you know that you have had a good couple of hours of escapism and managed to kick-start your summer.
    Mamma Mia plays at Bournemouth Pavilion Theatre until 12th August 2017
    * Review taken from the Sheffield Theatre 

  • THEATRE REVIEW | The Wedding Singer, Bromley Churchill Theatre

    ★★ | The Wedding Singer, Bromley Churchill Theatre 

    THEATRE REVIEW | The Wedding Singer, Bromley Churchill Theatre

    Robbie Hart is a popular wedding singer who has his belief in love shattered when he is jilted at the altar by his fiancé. But as he has promised to sing at the wedding of affable waitress Julia to her sleazy, materialistic boyfriend, Glenn, he spends his time helping her prepare for her big day. But amongst the gift registry and dress shopping, the two of them slowly fall for each other, and as Julia’s big day approaches, will they both find the courage to tell each other how they feel?

    This 80’s set musical is based on the film of the same name and is packed with a full list of original songs, a smattering of ensemble pieces and a rapping granny. In terms of the cast, Ray Quinn (X-Factor) stood head and shoulders amongst the performers, with a good performance as Glenn, whilst Cassie Compton (X-Factor) and UK Eurovision singer Lucie Jones provided competent support and, to their credit, some superb singing.

    But aside from a handful of good performances, sadly, the whole thing just simply didn’t hang together. The onslaught of songs became intrusive to the progression of the narrative, the clunky and cumbersome set changes interrupted the flow and the show overall fell somewhere between lacklustre and dull. Add into that an incredibly cringe worthy seduction scene between Robbie and his ex-fiancé, a significant lack of chemistry between the two leads and some borderline offensive stereotypes of gay men which felt more like ridicule than parody and you have a rather disappointing production.

    But where the show really lets itself down is in its lack of an 80’s feel, especially given that the decade is ripe for the picking in terms of its cultural identity.  Part of the charm of the film that the show is based on is its nods to the decade, from the fashions to the music; something that is noticeably missing from this show. It takes more than a randomly placed Rubiks Cube, a Sony Walkman and a reference to the size of a mobile phone to set the 80’s scene. But the biggest omission is that the original songs didn’t have even a tinge of 80’s synth pop to them and were so generic that, on the whole, they could have come from any musical set in any decade; whilst the costumes missed the opportunity to fully exploit the decade that fashion forgot.

    The show did finally come alive during the last scene and the curtain call, but it was far too little far too late, and couldn’t avoid the show receiving a rather muted reception from the generally unimpressed audience.

    The Wedding Singer is currently playing at the Bromley Churchill Theatre until 5th August 2017

    • Review taken from the Sheffield Production.