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  • RESTAURANT REVIEW | Marquis of Wellington

    RESTAURANT REVIEW | Marquis of Wellington

    ★★★ | Marquis of Wellington

    Who is the Marquis of Wellington and what is he doing in Bermondsey?

    The Marquis of Wellington was another name for the 1st Duke of Wellington (Arthur Wellesley), one of the leading military and political leaders of the 19th century. It’s also the name of a pub in Bermondsey down a lonely and dark stretch of road alongside railroad tracks that go into London Bridge. The Marquis of Wellington is not your typical pub – there’s no fish and chips nor sausage and mash on the menu. It is, however, doing things a bit different – it’s a pizza joint that also serves street food!

    First off, let’s mention the pizza. There are eight to chose from, from salami to sirloin steak, porchetta and apple to prosciutto crudo, which is what my Italian dining companion had. It was a beautifully-looking pizza, very large (eight slices), topped with sun-blushed tomatoes, wild rocket and of course prosciutto. It was big enough to feed two people! However, it was very oily, too oily for my dining companion to eat with his hands. The pizzas are very good value and priced between £7 to £9.75 – a great deal considering how big they are! I, on the other hand, had that night’s pop-up street food choice. Lucky for me it was Smokin’ Lotus (smokinlotus.co.uk). I had the option of either the 8-hour smoked char siu pork rib, the 10- hour slow smoked beef brisket or the smoked tofu, so it was suggested to me by the manager to have the pork rib salad box (no more sandwiches were available on a Saturday night at 8 pm). The salad box came with Asian style ‘slaw with a creamy sesame dressing and Japanese style mashed potato salad. All I have to say is that it was delicious. The pork was grilled to perfection, the slaw was absolutely tasty, and the mashed potato salad was simply divine. And at £8 it was an excellent deal!
    Fresh garlic bread is also a big part of the menu at the Marquis of Wellington. They are massive and excellently priced at under £4.50 each. My companion had the mozzarella, basil pesto and sun blushed tomatoes – he said it was very good but again, the bottom of the bread was oily. My San Marzano tomato with grilled aubergines and parmesan was perfect – the bread was crispy and the toppings were superb.

    The Marquis of Wellington is located on the Bermondsey beer mile – a section of Bermondsey where you’ll find lots of local brewers. I drank the Anspach & Hobday Pale Ale beer – blond, delicious, beautiful and recommended. The Marquis of Wellington has other great selections of local keg and cask beers, alongside quality beers from around the world. And it being a pub, the Marquis of Wellington serves all the usual liquids – wines, spirits, bottled beers, etc.

    It was a Saturday night at 7:50 pm when my friend and I walked it. It was extremely loud and rowdy and we struggled to get a table even though we had a reservation. It took a bit to figure out how things worked – if you’re eating from the menu, the menu that is supposed to be on your table (ours wasn’t), you need to tick what you want and then take it to the bar to order. We ordered at 8:10 pm and were told that the street food concession was already closing! Early for a Saturday night – luckily I got their last served meal of the day.

    The pub was in a bit of disarray, and the empty table the friendly waitress found us was a bit dirty. The food came out fast and furious, but after our meal we were told they had run out of dessert – by 9:30 pm! Also, the pizza and garlic breads are served on cutting boards – I’ve never been a fan of eating off cutting boards because food tends to get into the wood and, if not properly washed, you might be tasting the pizza a customer might have had the day before. Nonetheless, good things are about to take place at the Marquis of Wellington. Just four months old, they plan to have live music on Thursday nights, will soon have a quiz night, and more street food options are planned. They also have free Wi-Fi.

    The locals are lucky to have this pub on their doorstep, and visitors to the area will enjoy it as well, but it might not be worth trek all the way to Bermondsey when the West End will do for any type of pub and food option you want. The food = ★★★★, the pub itself = ★★, so it warrants ★★★.

    To find out the upcoming street food traders at the Marquis of Wellington, follow them on Twitter @MoWBermondsey or Facebook – Marquis of Wellington

    Telephone: 020 7394 0246

    http://www.marquisofwellingtonbermondsey.co.uk

    Address: 21 Druid Street, Bermondsey, London, SE1 2HH

    Opening hours:

    Mon – Thu: 11:00 – 23:00

    Fri – Sat: 11:00 – 00:00

    Sun: 11:00 – 23:00

    Food served: Mon – Sun: 11:00 – 22:00

  • THEATRE REVIEW | The Girls, Phoenix Theatre, London

    THEATRE REVIEW | The Girls, Phoenix Theatre, London

    ★★★★ | The Girls, Phoenix Theatre, London

    There are several women of a certain age taking their clothes off in the West End.

    No, these women are not strippers – they’re in a musical comedy called The Girls based on the famous calendar girls of Yorkshire who took their clothes off for a calendar to raise money. And it’s no surprise that the brave actresses in this show take their clothes off to pose, just like the real women!

    It’s a good time for the audiences in a show written by perennial favourite and Take That member Gary Barlow, along with Tim Firth (who co-wrote the movie). It provides lots of music that carry the Take That sound – top 40 middle of the road – enjoyable even at times when the storyline is a bit uneven and a bit too simple.

    Almost everyone knows about these girls (well, they are not exactly girls – they are ladies), and if you haven’t seen the 2003 hit movie (which starred Helen Mirren and Julie Walters), then ‘The Girls’ tells their story again. Anna (Joanna Riding) has lost her husband and she wants to raise money for a memorial couch at the hospital where he was treated to replace the broken down couch. Chris (an excellent Claire Moore) comes up with the idea (after seeing a Dutch women’s stripper calendar) that instead of having their usual bake sale, why don’t they pose, not naked, but nude, for a calendar? She rallies her local women’s club – W1 – but of course there’s dissent – especially by leader Marie (Marian McLoughlin) – who vehemently opposes the idea – she’ll have none of that – she doesn’t want to destroy the reputation and image of the club where they are trying to be role models for the younger generation. Of course, as you can guess the women do eventually disrobe for a calendar and the rest is history.

    The Girls is a very lighthearted (and very lightweight) musical which combines hummable tunes with a weak storyline. But it’s credit to all of the actresses who actually disrobe on stage – they do it with such grace and elegance (and lots and lots of humour) that I wished the show would’ve stretched this bit even more (no, not just to linger more at the naked women but to celebrate their openness and non-reserve!). The women are all excellent, but Michelle Dotrice as Jessie really shines as the elder woman who takes if off with such candour. Another storyline in the show goes nowhere – Chris’ son Danny (a good Ben Hunter) and his friend Tommo (Josh Benson) try to impress the rebellious Jenny (Chloe May Jackson) but the storyline gets dropped, and Tommo disappears for most of the second act only to come back with one line. The set is a bit confusing (bookcases litter the stage – piled very high, used as a door as well, and an ugly scary tree pops down every now and then). But the catchy tunes such as ‘Yorkshire’ and ‘Dare’ will have you humming for days afterwards. The Girls will put a smile on your face and will remind you that being ‘nude’ is not a big deal!

    The Girls is now playing at the Phoenix Theatre until July, 2017.

  • THEATRE REVIEW | Funny Girl, Palace Theatre, Manchester

    ★★★★ | Funny Girl, Palace Theatre Manchester

    In the opening lines of the show, Fanny Brice declares, ‘That’s where I live, on stage.’ In a rip-roaringly fantastic return to the show by Sheridan Smith; it’s impossible to believe she belongs anywhere else.

    The narrative of Funny Girl lacks originality. The rags to riches rise to fame, peppered with a predictably turbulent love story. These are popular tropes of the post-war musical, and Funny Girl is no exception. Act one of Isobel Lennart’s book just about generates enough excitement to retain one’s interest in the story. Act two doesn’t fair too well in this department. Michael Pavelka’s sparse, asymmetrical set design left the stage feeling desolate at times. And, while some have interpreted the precariously tilted proscenium arch as a representation of Fanny’s life – I think it’s a metaphor too far for this light-hearted musical comedy. However, like many things in this production, the lack of dramatic pace and uninspiring set design dissipates in a heartbeat when Smith is on stage.

    The show is an unapologetic star-vehicle for the lead role, which was popularised by Barbara Streisand in the 1969 film – an indisputably tough act to follow. But Funny Girl is the story of vaudevillian Fanny Brice, and her meteoric rise to fame in the Ziegfeld Follies – a story which has distinct echoes of the show’s star Sheridan Smith. Smith herself is fast becoming the doyen of British theatre, and with performances like this, the hype is more than justifiable.

    She sings with ample vocal ability and dances with confidence and flair. But Smith is ostensibly an actress – and it is her sublime characterisation, which never falters, where her unique ability to captivate is most alive. Her character Fanny claims to have ’36 different expressions’. To say Smith has expression is to dilute the honesty of her performance. In the wrong hands this role can be two-dimensional, but Smith’s astute comic timing, palpable likeability and wholly believable vulnerability chimes the chord of truth every second she is on stage.

    The ensemble also gave a solid performance, and orchestra was in fine shape too. The same could not be said for my legs after being sat in the grand tier of the Palace Theatre in Manchester for three hours. I normally give the note: ‘restricted legroom’ a perfunctory glance and have no problem. I think, the tangible desire for the audience to jump to their feet was to congratulate Smith on a stellar performance – but the audible sigh of relief from my fellow grand tier survivors leaves one to wonder. Seat issues aside: a star was not born at the Palace Theatre this week, but rather cemented into history as one of our most talented leading ladies.

  • THEATRE REVIEW | The Wild Party

    ★★★★ | The Wild Party

    The Wild Party review
    CREDIT: Scott Rylander

    Have you ever been to one of those parties where the memory of it makes you shudder and sigh in equal measures? You know the kind: the music’s loud, the people are louder, there’s way too much gin, people are taking drugs like they’re about to become illegal or something, your boyfriend sneaks off and does someone else in another room and you can’t quite even remember what or even who you did. No? Me neither. I’m more of a Bridge and canapés person but I like to dream.

    ‘The Wild Party’ depicts just such a party but back in the era of Vaudeville, dancing the Black Bottom and blasting out jazz. Based on a controversial narrative poem from 1927, this musical is a rollicking romp and a visual treat. Queenie and Burrs are ageing Vaudeville stars that decide to liven up their flagging relationship by throwing a wild party with a bath tub full of gin and an assortment of bohemian friends with fluid sexuality. Cue the entrance of old friend Kate with her hot gigolo lover, Black and things get messier than expected.

    Award-winning choreographer Drew McOnie (In the Heights, Bugsy Malone, Jekyll and Hyde) directs the piece and injects it with jaw dropping moves. Limbs flail, jazz hands waggle and a sinister pair of brothers hot-shoe it all over the stage. It’s visually dazzling if slightly overwhelming at times. The music is pure 1920s jazz and has enough oomph to carry the show which is needed as there isn’t a huge amount of plot: there’s a party with sex, drink and drugs and it goes wrong.

    Original Les Miserables star Frances Ruffelle is a treat to watch as Queenie. Simon Thomas is painfully handsome as gigolo Black and Dex Lee is a suitably sinister and sexually appealing Jacky, a coke-crazed bisexual rich kid. It’s a show that’s brash, loud and relentless which is no bad thing. What it lacks in plot and delicate characterisation it more than makes up with rousing choreography and, to quote another show featuring Vaudeville stars, ‘razzle dazzle’.

    The Wild Party plays at The Other Palace until 1st April 2017

  • Neo Nazi homophobe jailed for terrorism offenses

    Neo Nazi homophobe jailed for terrorism offenses

    A London man, who believed that Adolf Hitler was God, has been jailed for terrorism offences, including promoting ISIS and writing homophobic and racist posts on social media.

    Sean Creigton
    CREDIT: Metropolitan Police

    Enfield resident and neo-Nazi extremist Sean Creighton has been jailed for five years following an investigation by the Metropolitan police in London. The 45-year-old was accused of a terrorism offence as well as writing anti-gay and racist posts on social media that were intended to incite hatred.

    Creighton, a right-wing extremist, pleaded guilty to seven public order offences and one terrorism offence at Kingston Crown Court on Friday, 6 January.

    He was sentenced on Thursday, 23 February to four years’ imprisonment for the public order offences and five years’ imprisonment for the terrorism offence, to run concurrently.

    The police launched an investigation after a post appeared of Mr Creighton holding an assault rifle, standing in front of a Nazi flag, on social media.

    In June 2016 police executed a Section 46 Firearms Act warrant.

    The court heard how police found a “terrorism manual” on his laptop, which contained “viable recipes” for making bombs following a raid on his North London home.

    He was arrested under Section 19 Public Order Act 1986 – distributing written material intending to stir up racial hatred in relation to material on his social media account. When officers further investigated his activity they discovered he was using various methods to spread hate, including offensive stickers on street furniture and what can only be described as prolific activity on social media. They also discovered he had possession of a manual of a kind likely to be useful to a person committing or preparing an act of terrorism.

    On 31 August 2016 he was charged with a terrorism offence and public order offences and appeared at Westminster Magistrates’ Court the following morning where he was remanded in custody to await trial.

    Commander Dean Haydon, of the Counter Terrorism Command, said,

    “We are as committed to apprehending and prosecuting far right extremists who commit terrorist offences and promote hatred as we are those who support and promote ISIS. Both are intent on destroying communities and pose a real risk if they are allowed to continue.”

  • Nearly one third of Brits think that being gay is a choice

    Nearly one third of Brits think that being gay is a choice

    Staggering findings from a YouGov survey has found that nearly one-third of Britons think that being gay is a choice.

    CREDIT: Oneinchpunch-bigstock

    A survey has found that 31 per cent of British people think that being gay is a choice and not a naturally occurring phenomenon. YouGov who conducted the poll found that nearly half of people questioned (49%) thought gay people were born that way.

    Overall, three per cent of those questioned thought that someone’s sexuality was the result of a person’s upbringing.

    Men were more likely to think that homosexuality was a choice with 32 per cent believing homosexuality was a choice. A slim majority (54 per cent) of women believed that it was the way people were born. Those who are 18 to 24 were more likely to think it was how people were born.

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    When the stats were broken down into political persuasions, 41 per cent those of who voted UKIP thought that being gay was a choice while 39 per cent thought that it was naturally occurring. Those who vote Labour and Liberal Democrat were more likely to believe that it was the way that people were born, but still, a quarter believing that it is a choice.

    Data journalist Matthew Smith from YouGov said,

    “The survey finds that those who voted Labour or Lib Dem in 2015 are the most likely to say people are born gay (both 58%), and the least likely to believe it is a choice (25% and 26% respectively). Conservative voters are much less likely to believe people are born gay (43%), but are still more likely to do so than think people choose to be gay (35%).”

  • Activists take over London’s landmarks to reclaim LGBT+ history

    Activists take over London’s landmarks to reclaim LGBT+ history

    A number of LGBT+ activists have taken to the streets of London to reclaim LGBT history.

    Sexual Avengers
    CREDIT: Sexual Avengers

    Activists from the campaign group Sexual Avengers have taken to the streets of London to mark various landmarks with special blue plaques to “reclaim radical” LGBT+ history.

    The Sexual Avengers have taken over often ignored sites of LGBT history including, The House Of Lords, The Admiral Duncan and the home of Black Pride.

    Security guards at the House of Lords were “baffled” as four lesbians scaled the outside wall to affix a specially designed blue plaque with the words “Queer Heritage” emblazoned on it. The move mirror the actions of four lesbians who climbed the building in 1988 during the Section 28 debate.

    Sexual Avengers
    CREDIT: Sexual Avengers
    Sexual Avengers
    CREDIT: Sexual Avengers

    Speaking about the stunt, Sexual Avenger Lucy Warin said,

    “For us, the personal is political. I’ve grown up queer in a straight world that tells me I’m allowed to be gay, but not ‘too gay’.

    “As a community we don’t get to celebrate our personal history much – straight people can’t identify the place they ‘come out’, they didn’t lose their virginity ‘in the closet’ and they probably can’t name one of the multiple places on public transport where I’ve lowered my voice or degendered my partner when telling a friend about a relationship.

    “There should be no shame attached to these sites. We have to uncover our history to celebrate and learn from it.”

    Sexual Avengers
    CREDIT: Sexual Avengers

    Sexual Avenger Ariana Jordão, 33, attached the plaque to the House of Lords.

    She said,

    “We did this to celebrate collective acts of queer resistance. The House of Lords represents the powerful who ignore the interests of the few, so this is about visibility, creating something that’s impossible to ignore – a rupture in the impenetrable powerhouse. It felt awesome standing on the shoulders of giants, and of my friends.” Ariana is a biologist, artist and gardener.

    Sexual Avenger Dan Glass said,

    “Radical queer history is full of hope, full of hard fought campaigns by committed groups and individuals that have won us the rights we now enjoy today. London is unique as a ‘gay friendly’ city with no permanent LGBTQIA+ museum or cultural space: comparable cities such as Berlin, San Francisco or New York all have such a space. We demand a queer cultural space to understand where we’ve come from, and how far we still have to go to achieve equality, especially for the most vulnerable members of our community.”

    The activists plan to target a number of spaces in London, including:

    The House of Lords, where four lesbian activists abseiled into a debate to protest queerphobic Section 28 legislation, 2 February 1988

    The Admiral Duncan gay pub, where three people were killed and 70 injured by a Neo-Nazi nail bomber, 30 April 1999

    Vauxhall Pleasure Gardens, the current site of the UK’s only pride event organised by and run for people of colour, 2005 to present

    and a number of LGBT clubs that have closed in recent years.

    The Hoist, 1995 to 2016
    The Black Cap, 1965 to 2015
    The George & Dragon, 2002 to 2015
    Barcode, 1996 to 2015
    The Joiner’s Arms, 1997 to 2015
    Candy Bar, 1996 to 2014
    First Out Café, 1986 to 2011
    London Astoria, 1976 to 2009
    Ghetto, 2001 to 2008

  • THEATRE REVIEW | Gaslight – Lyceum Theatre, Sheffield and National Tour

    THEATRE REVIEW | Gaslight – Lyceum Theatre, Sheffield and National Tour

    ★★★|In an elegant townhouse in Victorian London, Bella Manningham is slowly losing her mind. Pictures keep disappearing, trinkets seem to move from place to place and items go missing without explanation. Add to that the mysterious sounds from the top floor of the house and the dimming of the gas lamps and Bella’s sanity is called into question. But what is the secret history lurking in the walls of the home and just who is the stranger who calls unannounced at her home one evening? Why does Bella’s husband, Jack, keep reminding her of her mother’s insanity and what is the connection for all of them to a 20 year old unsolved murder?

    Photo Credit – PR Supplied

    Patrick Hamilton’s play is a direct descendant of the Victorian melodramas that it portrays. Continuing the themes of innocence menaced by something darker, the plays script, setting and overall feeling is one of claustrophobia and oppression. Given that the play is set in a single room and given that it is, essentially, a three hander, the play has to rely heavily on the performances of the actors to carry it through. Kara Tointon’s portrayal of Bella was fine, although the increasing histrionics started to grate a little with the progression of the story. Rupert Young’s turn as Jack Manningham was well rounded, initially quite charming and alluring, but subsequently developing his character to include an uneasy undertone.  But it was Keith Allen’s performance as the mysterious visitor which stood out the most, performing his stern and determined character with his tongue just slightly in his cheek, lightening what is otherwise quite a bleak drama with a soupcon of humour and playing to his strengths.

    The stage set is a detailed drawing room, which has a forced perspective and increases the claustrophobic feel of the piece, which is enhanced further by some atmospheric lighting. The productions sound design was nothing more than functional and the sound in the theatre allowed for every word to be heard clearly, which is essential with such a wordy script.

    As a whole, the piece was a fairly mixed bag. The first act nicely established the characters from the outset and drew the audience in as to the mystery, hinting at the possibility of the plot twists which may come, and ending the first act, story-wise, on a decent cliff-hanger. The second act seemed to lose its way slightly, becoming a little muddled and failing to deliver on the anticipated plot twists, instead, providing a rather straight narrative and one which is not entirely unpredictable. There are a couple of cattle prod scares which highlight the supernatural element of the story, although in a rather clumsy and unnecessary way, and this is an element which is never really followed through.

    Gaslight appears, from the outside, to be mix of The Woman In Black and An Inspector Calls, but in reality is a straight Victorian melodrama, portraying a relatively linear narrative with a socially aware undercurrent addressing the treatment of Victorian women and the discrepancies in equality faced by them. Overall, it is a fairly engaging but lightweight mystery / thriller worthy of a watch and which has an ultimately satisfying ending.

    Gaslight is currently at Sheffield Theatres (www.sheffieldtheatres.co.uk) until the 25th February 2017 before heading to Richmond and Cardiff.

     

     

  • THEATRE REVIEW | Cirque Berserk, Birmingham Rep

    THEATRE REVIEW | Cirque Berserk, Birmingham Rep

    Dangerous, daring but a little spark-less  ★★★

    ©circusphotographer.com

    This is the second time that I have seen Cirque Berserk at the Birmingham Rep, and I have mixed feelings. Mostly, I really enjoyed the acts, and there were moments that got you on the edge of your seat, gasping in horror; but others that made you cringe.

    There were your usual circus’ performances such as acrobatics, flame juggling, and even a clown character, which was quite funny; it was funnier when you heard the children laugh out loud in the audience at his every gag. The acts that stood out were Tropicana Troupe, a Cuban acrobat team that catapulted themselves across the stage landing perfectly on a crash mat, and in the second half flying halfway across the air to land precisely on a chair high up off the ground. Of course, their god-like bodies were also a show-stopper. Jose and Gaby performed a stunning contemporary/acrobatic dance routine where Gaby suspended herself with just one hand using Jose’s forehead as support. This blew the audience away, and we were glued to their beautiful movement throughout. Odka was also incredibly mesmerising to watch as a contortionist; Odka shot an arrow against a target by using her feet! Then we saw her spill out of a small bottle-like container. The four motorcyclists inside a metal dome they call – Globe of Death – was extreme and jaw-dropping, and was a brilliant way to end the show.

    The other artists appeared little awkward and kept demanding rounds of applause which took away the moments that were really stunning and hand-clapping worthy. Bolas Argentina were very good in the second half, but the first half it was awkward when Germaine tossed the bolas against a springboard but it was a lacklustre effort. Then, Gabriel did a similar trick and it had so much more energy and rhythm to it. The Berserk Dancers were disappointing, as every time they appeared on stage, it looked like they were forced to be there and it made some moments cringing and laughable with only one or two really going for it. Timbuktu Tumblers were very good, but again, a lot of applause begging after every little thing. British audiences, I guess, like to be left alone and want to clap when they feel it necessary. It was especially awkward at the very end when the audience clapped, but the artists wouldn’t move until there was a complete standing ovation, which ended with an unenthusiastic standing ovation from half of the audience.

    Overall, enjoyable, but for a circus with some very good acts, it lacked a punch.

  • UK court rules that heterosexual couples still cannot get civilly partnered

    A blow has been struck to heterosexual couples who wish to get civilly partnered rather than married after a UK court dismisses a challenge.

    The Court of Appeal has dismissed a case which would have allowed opposite-sex couples the option to get a civil partnership instead of getting married. As it stands only same-sex couples are able to get a civil partnership.

    Rebecca Steinfeld and Charles Keidan wanted for the law to recognise their six-year relationship via a civil partnership, however, the Civil Partnership Act 2004 states that only same-sex couples are eligible. They have been campaigning to allow heterosexual couples’ rights for civil partnership for three years.

    The couple challenged a High Court ruling in November and have not ruled out take their case to the Supreme court to overturn the decision.

    Three judges who heard their case, Lady Justice Arden, Lord Justice Briggs and Lord Justice Beatson agreed that the discrimination against opposite-sex couples could not continue and that the Government should be given more time to consider the issue.

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    They argued that the Court’s decision was discriminatory and at odds with the law.

    Speaking outside the court, Rebecca Steinfeld said,

    “We are deeply disappointed by the ruling and very sorry not be able to share good news but there’s so much in the decision that gives us reason to be positive and keep going.”

    Peter Tatchell, who has campaigned on this issue said,

    “I’m hugely disappointed with the ruling since the judges agreed with 90% if Charles and Rebecca’s case,”

    “They accepted the points if law but believed the government should have extra time. Millions of different sex couples will feel that their rights have not been upheld by the court.

  • Jeremy Hunt is being urged to save HIV charity from closure after theatening funding cuts

    Jeremy Hunt is being urged to save HIV charity from closure after theatening funding cuts

    The Secretary of State for Health, Jeremy Hunt is being urged to take action after an HIV charity in England signalled it could close due to crippling funding cuts.

    Sussex Beacon
    CREDIT: Sussex Beacon

    HIV charity, Sussex Beacon says it could be forced close by June due to funding cuts from the NHS. The charity which was formed in 1992 faces a “very real risk” of being shuttered after its core funding was reduced by the NHS. The charity currently costs £2 million a year to run. Trustees from the charity say they cannot continue to absorb these cuts.

    The charity, which is based in Brighton, serves around 500 people per year who are living with HIV and AIDS related illnesses. It has already announced it is to close its psychological services due to lack of funding.

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    A petition has been launched urging Jeremy Hunt to save the charity. Since it went live over 10,000 people have signed it.

    The closure of the vital service has been called devastating by Brighton’s MP, Caroline Lucas who called on the government to make an “urgent intervention” to stop the charity from closing.

    Caroline Lucas said,

    “The closure of the Sussex Beacon would be devastating for service users, staff and volunteers. The importance of the work being done by this vital service for people with HIV cannot be overstated – and I have written to the government asking for an urgent intervention to prevent any closure. I know that those involved with the Sussex Beacon will not let this service be slashed without a fight, and I’ll be continuing to be closely in touch with them and standing with them every step of the way.”

    In 2016 the LGBT+ mental health charity PACE was forced to close after funding cuts were made to local authority budgets. It had been in operation for 31 years before its closure.

    THEGAYUK.com reached out to Jeremy Hunt’s office for comment.