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Author: Eric Page

Book Review: Art, Annotated by DK

Posted on by Eric Page

Book Review: Art, Annotated – A Mesmerising Art Gallery in Book Form

review Eric Page

In Art, Annotated, readers are treated to a thrilling gallery spanning more than 3,000 years of the world’s most beautiful pictures. This breathtaking collection is a triumph, presenting an expertly curated survey of the finest works in the history of art. Each piece is paired with meticulous annotations and insightful visual analysis, guiding the reader through an immersive journey of aesthetic and intellectual discovery. There were loads of pictures I knew, or thought I knew, plenty I recognised and a fair few that were completely new to me.

The book thoughtfully assembles masterpieces from diverse cultures and time periods, weaving a tapestry of global creativity and influence. From the intricate symbolism in Byzantine icons to the vivid emotional range of Baroque portraiture, and on to the bold expressions of modern abstraction, every page offers a new revelation. The works of over 450 artists are profiled in a rich blend of historical context and stylistic detail, covering every major movement in art history with a rigor that art aficionados will find both enlightening and engaging. I was fascinated by the way the pictures are explained, layer by layer, not just the style of the painter, and their ‘school’ but the meaning of the colours, shapes, icons even shadows are teased apart and gave a real depth to my understanding of these famous cultural icons.

The book’s unique strengths lies in its rich, short and clear annotations, which decipher the often-obscure language of visual art. From Botticelli’s The Birth of Venus to Picasso’s Guernica, the text unlocks the mystery of symbolic gestures, subtle colour shifts, and composition choices, providing and, and you Reader! with the tools to understand each artist’s technique and intent. In doing so, Art, Annotated turns appreciation into active participation, making even the most intricate or elusive works accessible.

The book’s grandeur is further enhanced by its generous size and exceptional colour fidelity, which allow each work to be appreciated in vivid detail, from brushstrokes to textures, transporting the viewer right into the heart of each masterpiece. Additionally, a 32-page directory at the back of the book includes concise biographies of all featured artists, serving as both an informative reference and a springboard for further exploration.

Brimming with information and filled with inspiration, Art, Annotated is the ultimate visual sourcebook, inviting art lovers to immerse themselves in an intimate and profound experience of art history. It’s not merely a book but a gateway to the lost language of art, decoding the secrets of form, technique, and symbolism that lie at the heart of humanity the world’s art treasures into one’s own home—a must-have for every collector, historian, and lover of beauty.

Art, Annotated is the perfect gift for any art lover or person interested in deepening their understanding and appreciating of great pictures from across the world’s cultures, its like having your very own chatty Sister Wendy to show you round your favourite art.

Out now Hardback £35

For more info or to order the book see the publisher’s website here:

 

Book Review: Trans Bear Diaries: Calling My Deadname Home by Avi Ben-Zeev 

Posted on by Eric Page

Trans Bear Diaries: Calling My Deadname Home

by Avi Ben-Zeev 

 

Review Eric Page

Avi Ben-Zeev’s Trans Bear Diaries: Calling My Deadname Home is a striking memoir that journeys beyond the boundaries of traditional gender narratives. Rather than recounting a linear transition, Ben-Zeev tackles the complex and painful task of reconciling his present self with the echoes of his past. His “deadname,” Talia, refuses to be forgotten, and in this memoir, Ben-Zeev embraces her as part of the man he’s becoming, capturing an authenticity that’s both raw and profoundly moving. 

Structured into three powerful episodes—early transition, later transition, and Talia’s story—the memoir explores the intensity and the vulnerability that comes with becoming one’s true self. From growing up in a conservative, working-class Israeli family, facing poor academic prospects, to defying expectations by obtaining a PhD from Yale, Ben-Zeev’s narrative unfolds with clarity and resilience. His journey is as much about external accomplishments as it is about the inner work of self-acceptance, and his transformation is told with brutal honesty, humor, and compassion.  

Author: Avi Ben-Zeev

Ben-Zeev’s narrative dives into issues that resonate beyond gender, swirling around class, politics, and identity. His experiences, including pro-Palestinian activism and faking mental illness to escape compulsory military service, showcase the resilience needed to navigate social and political landscapes that often feel hostile to one’s very existence. Through his story, Ben-Zeev interrogates complex cultural and gender norms and offers a fresh perspective on what it means to navigate these realms as a trans man in an evolving world. 

At its core, Trans Bear Diaries is a meditation on what it means to “come home” to oneself. Rather than rejecting or severing ties with his past, Ben-Zeev brings Talia into his story, bridging her memories and struggles with his current identity. This process of integration speaks to the universal journey of self-discovery and acceptance, reminding readers that sometimes true wholeness comes from embracing, rather than erasing, all facets of our identity. 

Avi Ben-Zeev’s memoir is a powerful testament to the strength it takes to integrate our past into our present and build a future that honors the fullness of who we are. His journey reminds us that to fully embody our truth, we must first make peace with every chapter of our story—even the ones we may wish to leave behind. 

Out 14th Nov £9.99 Paperback 

For more info or to order see the publisher’s website here 


  

 

REVIEW: Breach Theatre: After the Act @ Corn Exchange

Posted on by Eric Page

Review by Eric Page 

“After the Act” is a timely and compelling theatrical experience that skilfully weaves together the personal narratives of those impacted by Section 28, the notorious Conservative Government legislation that banned the “promotion” of homosexuality in schools by local authorites. It is a verbatim theatrical piece about Section 28, 35 years after the clause was voted into law, and 20 years since its repeal. Blending emotive first-hand accounts with a 1980s-inspired score, the production offers a clear-eyed examination of this dark chapter in LGBTQ+ history while retaining a joyfully camp sensibility. This show massively celebrates LGBTQ+ pride and protest, and shines a light on the devastating impact of Section 28 in schools whilst holding up to us our Queer LGBTQ+ Heroes who took direct action to protest and fight back. It also, slyly shows us – those of us who need to know, or need to remember – how easy direct protest actions, taken to defend communites or principals, can be.

Through blending the live music and the personal stories of teachers, students, and activists, the piece explores how this repressive legislation silenced a generation and fuelled LGBTQ+ resistance. From the generated moral panic that drove the law’s creation to its eventual repeal, the show offers a clear-eyed look at the political tactics used to enact anti-LGBTQ+ policies, the manipulation of political attitudes, plain ugly religious prejudice and manufactured ‘normal family’ panic which closed down early attempts at inclusion and respect for LGBTQ lives and fuelled our community’s inspiring fight for equality.

Unapologetically queer and defiantly camp, After the Act uses multimedia and emotive personal accounts to celebrate the LGBTQ+ community’s resilience in the face of state-sanctioned homophobia.

The musical’s original live score, composed and orchestrated by Frew, provides a thrumming, synth-heavy backdrop that complements the subversive and emphatic nature of the lyrics drawn directly from historical accounts.  It does start to sound a bit ‘samey’ after the first few tunes, and also – as the narrative is verbatim historical interviews sung by the cast – there’s no lyrical balance or rhyming to the ‘songs’. As Reader will know, I adore a good musical, but the music here rarely seems to indicate mood to set emotional tone or to move the narrative on, it’s heavily underscored background, but more so and overshadows the words on occasion.  There’s a final soaring crescendo at the end, with a final chord resolve, but by then, for me, it was too late.   While this is certainly a profoundly interesting piece of experimental musical theatre, it’s not a musical.  Saying that,  the vocal performances are exceptionally strong, with the cast’s harmonies and counter-melodies delivering an impressive musical cohesion. When they solo, they soar, taking the audience with them, some of these narrative interviews are harrowing, but the cast have the ability to serve a fierce indignant comedic Queer range along with tenderly reflective painful recollections of deeply hurtful trauma, which people carried with them into their adult lives. It’s a fine piece of theatre indeed which can make you laugh one second and bring you to the edge of tears the next. This quartet of highly polished actors, singers and dancers are truly impressive and push this show into a different space, as much Queer Valedictory as it is historical veneration.

(c) Alex Brenner

A stand-out moment, both for the Act and for this theatre piece is the wobbling, thrusting, grotesque nervousness of a Mrs Thatcher, giving us an odd insight into the vulnerabilities of Thatcher which she often hid behind her Imperial Pearl Empress persona.  It opens the second act, referencing Thatchers speech to the 1987 Tory conference, where (among other horrors she said…) “Children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay. ” She then concluded, “All of those children are being cheated of a sound start in life — yes, cheated.” A startling way to open the second part of the show and firmly setting the bar for the rest of the performance, one which was effortly met by this dynamic troupe.

Full cast and creative on the touring website here: 

Choreographer Sung-Im Her’s work is a particular highlight, infusing the proceedings with a delightful sense of irony – occasionally sexy, often silly, but consistently well-executed. The use of projections by Zakk Hein is also effective in setting the historical context, without distracting from the testimonies on stage. This, by its nature, is a deeply intimate piece of theatre and in the huge spaces of the Corn Exchange it gave a curious feeling of connection with the actors sharing these historical experiences. The stage setting is part classroom, part gymnasim and things get moved around to suggest context and space, for such a light touch it works very well, although the cast are so ferociously active, and move with such energy there’s only breif moments to grasp a setting.

I left feeling thrilled by this production, warts and all, reminding us of a period in our very recent history which was horrific for LGBTQ+ communities to live through and the awesome power of direct action, planned organizational and emphatic community response to attack.  The show finishes with a clear call out of our current ‘Trans Panic’, which is an ugly echo of the divisive ‘culture war’ drive behind Section 28. The elements that contribute to fear are deconstructed and revealed in this work. While it makes the clear point that we are currently facing a comparable moral panic towards transgender individuals, it starkly demonstrates how unaware some of us are to the reassembly of these building blocks.

The packed  audience of Queers, allies and curious people gave the performers a standing ovation, and were buzzing as they tumbled out into the chilly November night. Most of us in our late 40’s and 50’s recalling our own experinces of living under these painful repressive times. Overall, After the Act is a powerful and timely theatrical experience that shines a light on a dark chapter of LGBTQ+ history while celebrating the resilience and activism of the community. It is a must-see for anyone interested in queer stories and the ongoing fight for equality, just don’t go expecting a musical.

Sat 9 Nov, 2.30pm & 7.30pm

Brighton Corn Exchange

New Road 

To book tickets see the Dome’s website

Recommended age 14+. Under 16s must be accompanied by an adult.

CLASSICAL REVIEW: London Philharmonic Orchestra @ Congress Theatre

Posted on by Eric Page

Review by Eric Page

There’s something magical about watching classical music shed its traditional constraints while maintaining its sublime power. Sunday’s performance at Eastbourne’s Congress Theatre proved that the London Philharmonic Orchestra (LPO) continues to be one of our most vital cultural institutions, bringing fresh energy to beloved classics.

Sterling Elliott’s interpretation of the Dvořák Cello Concerto was revelatory. As a queer critic, I’m particularly attuned to performances that challenge conventional interpretations while honouring the essence of the work. Elliott achieved this delicate balance masterfully. His approach to the slow movement was especially moving, finding new emotional depths without sacrificing technical precision. The third movement showcased both his impressive control and his ability to infuse classical standards with contemporary relevance.

Sibelius‘s Finlandia opened the programme with particular resonance. Written as music inspired by social struggle (Finland wrestling with Czarist oppressions), I was struck by how the LPO captured the piece’s journey from oppression to liberation. The transformation from the sombre opening to the triumphant hymn felt especially poignant in our current cultural moment. It starts in the shadows, all quiet and threatened, but builds into this gorgeous celebration of resilience and pride.

In the second half conductor Vinay Parameswaran brought exceptional insight to Beethoven‘s Seventh Symphony. Their interpretation highlighted the work’s inherent joy while maintaining its architectural complexity. The second movement flowed with graceful restraint, while the finale built to an exhilarating crescendo. The horn section deserves special mention for their brilliant contribution to the coda.

 

Congress Theatre proved an ideal venue, its acoustics allowing for both intimate moments and full orchestral swells to reach the audience with clarity and impact. The space seemed to breathe with the music, enhancing the connection between performers and listeners.

This performance reminds us that classical music isn’t a museum piece but a living, breathing art form. The London Philharmonic Orchestra, under Parameswaran’s direction, demonstrated how traditional works can speak to contemporary audiences while retaining their timeless appeal.

The Congress really is a very comfortable, fully accessible, truly modern space – a lovely easy journey by car, bus or train from Brighton, and you can see full details of this concert and up and coming events at Congress Theatre can be found here and full details of the London Philharmonic concerts in East Sussex here 

BOOK REVIEW: ‘Manboobs’ by Komail Aijazuddin

Posted on by Eric Page

Review by Eric Page

Grab your tissues and your truth-telling pants, because this memoir is serving realness with a side of revolution! As someone who’s navigated their own queer odyssey, I found myself snap-clapping, ugly-crying, and belly-laughing through much of Komail Aijazuddin‘s raw and radiant story.

From the first chapter, when little Komail is living his best *Little Mermaid* fantasy life atop classroom furniture in Lahore, I felt seen in a way that made my heart do somersaults. Here was a kid who, like so many of us, knew he was paddling in a different pool before he even had the words for it. The way he captures the exquisite agony of being the “different” kid – the one with the spontaneous Broadway eruptions and the body that refused to fit in – is hilarious and heartbreaking.

“The larger-than-life stories, bold characters, and unapologetic flair have often mirrored our own journeys of self-discovery.”

We’ve all had our versions of “if I could just get to [insert gay mecca here], everything would be perfect!” And Aijazuddin’s American dreams will feel familiar to any queer person who’s ever plotted their great escape. I made it out and now live in the Gilded Ghetto of Brighton, but what makes this memoir so special is how it transcends the typical “it gets better” narrative to explore something deeper: the revelation that true liberation isn’t found in a place, but in the long, messy journey of learning to love yourself.

The author’s relationship with his body, complicated by cultural expectations and internalised shame, is handled with such tender complexity that I found myself putting down the book several times just to reflect. This is raw, honest writing, but done with such warm style that even in these heavier moments, Aijazuddin’s wit sparkles like a fresh coat of glitter – proving that sometimes the best way to deal with pain is to bedazzle it. Side-eyes the trauma councillor!

The social conflict is all too real: Aijazuddin vividly describes being labelled “not Pakistani enough” in his homeland, where suffocating tenets of faith are ‘inhaled with a baby’s first breath’ dictating your survival is who you know, your own skills are immaterial unless you’ve got the connections to exploit them. Then, in the U.S., he’s faced with the opposite challenge—he’s suddenly “too Pakistani” for the gay scene, which has its own complex, unwritten rules for fitting in.

Komail Aijazuddin

His memoir is candid, raw, and often laugh-out-loud funny – a rare, unapologetic glimpse into the life of a gay Pakistani navigating identity in two worlds. For so many gay men, as documented in camp and delicious detail in this book, theatrical musicals have been more than just entertainment—they’ve been lifelines.

The larger-than-life stories, bold characters, and unapologetic flair have often mirrored our own journeys of self-discovery. Musicals offer a space where queerness is celebrated, not hidden, with themes of love, resilience, and belonging guiding us toward acceptance. Aijazuddin’s experiences show that they teach us that our voices deserve to be heard, our stories sung, and that we can claim our own spotlight in a world that often tries to dim our shine.

This isn’t just another coming-out story; it’s a coming-into-yourself story. It’s about realising that the very things that made you stick out as a kid – those fabulous pirouettes, those fearless feelings, that fierce authenticity – aren’t burdens to shed but gifts to cherish.

For every queer person who’s ever felt like an outsider in their own skin, for every dreamer who thought happiness was a destination rather than a journey, for every soul who’s struggled to reconcile their culture with their truth – this memoir isn’t just a must-read, it’s a must-share, must-celebrate triumph.

In Manboobs, Aijazuddin confidently establishes himself as a fresh, sharp voice in humour, delivering a wickedly funny and poignant exploration of love and the courage it takes to truly be yourself.

You can see more of Komails’ work, art and writing on his website. 

Out now, £10.99

For more info or to order the book see the publisher’s website here:

REVIEW: Hairspray @ Theatre Royal Brighton

Posted on by Eric Page

Review: Eric Page

Get ready to shake your groove thing at this electrifying production of Hairspray at Theatre Royal Brighton. The story set in run-down Baltimore within the civil rights protests of the ’60s where Tracy Turnblad, a big girl with big hair and an even bigger heart, is on a mission to follow her dreams. She sets out to dance her way onto a racially segregated national TV show. Tracy’s audition makes her a local star, gains her quite a few entitled enemies as she uses her new-found fame to fight for equality, struggling with social issues and finding way to enable her family and friends to embrace their diversity. Stuffed with plenty of feel-good messaging around racial, age and female size diversity, it’s rooted in a good place, and the songs reflect this uplifting messaging.

Alexandra Emmerson-Kirby’s Tracy Turnblad is slightly subdued but soon starts that shimmy engine up to power the fabulous plus-size heroine to step up to challenge racial segregation and beauty standards. With a cast that’s in perfect harmony, this show is a chorus line of talent that’ll make you want to sing out.

The Theatre Royal stage may be compact, but the performances are anything but! The ensemble raises the bar with Drew Mconie‘s dynamic choreography, proving that when it comes to equality, they’re all in step.

The live house band rock the music, never missing a beat, driving this high energy musical to its delightful and very happy every after ending. The cast is electric, with a wide range of singers and dancers and two veteran comics combining their talents to keep the energy high and allow a pretty good range of emotive songs without sliding into smaltz or kitsch. Not easy when it’s all based around a ’60s Hairspray danceathon and is stalked by the louche spirit of John Walters (not that he’s dead yet…) as Tracy Turnblad is a version of his own younger Baltimore self.

 

Michelle Ndegwa as Motormouth Maybelle brings down the house with her powerful rendition of I Know Where I’ve Been, while the chemistry between Neil Hurst and Dermot Canavan as Edna and Wilbur Turnblad is so strong, you’ll think they’ve been “married” to these roles forever. They shared a lovely end of the pier routine which, with a touch of apparent improvisation, allowed these underwritten roles to shine and share some love, plus a hefty dose of innuendo, which was wonderfully funny, leaving few straight faces in the house. Understudy Kirsty Sparks stepping into the limelight at the opening night to shine as Velma.

Sets are a little basic for a national tour, but that might be to do with how small the Theatre Royal stage is, reflected in some ‘tight’ full cast dance numbers. The costumes, by Takis, are full on camp sequined delights referencing Bob Mackie. Wrapping the dancers up in colourful retro mania flattering their electric performances. Every one of them delights with their buoyant, tight, dynamic moves from the touch perfect choreography.

With its celebration of camp, uniqueness and community strength, Hairspray is a glittering beacon for the LGBTQ+ and wider community. It reminds us that whatever your intersectionality or identity  there’s room for everyone on this dance floor of life.

The audience left the theatre with spirits lifted higher than Tracy’s hair, ready to turn the world around with love and acceptance. Hairspray at Theatre Royal Brighton is not just a musical – it’s a high energy showstopper that’ll have you believing you can’t stop the movement towards a more inclusive world!

Until Saturday, October 5

For more info or tickets, see Theater Royals website 

BOOK REVIEW: ‘Gender Explained’ by Diane Ehrensaft and Michelle Jurkiewicz

Posted on by Eric Page

Words by Eric Page.

In a world saturated with misinformation about gender and identity, Gender Explained by Diane Ehrensaft and Michelle Jurkiewicz is a beacon of clarity and compassion and an invaluable resource for anyone seeking to understand the complexities of gender beyond the binaries.

Ehrensaft and Jurkiewicz bring their years of experience and careful research to bear in this groundbreaking work, cutting through the noise with a thoughtful, and well-researched approach to gender. The authors’ deep expertise, and wisdom from across their different generations is evident on every page, and they provide a nuanced understanding of gender that challenges outdated stereotypes and fosters a more inclusive perspective.

One of the book’s strengths is its accessibility. The authors navigate a complex subject matter with empathy and insight, making it an excellent resource not only for clinicians and professionals in the field but also for families, educators, and anyone curious about gender diversity.

Ehrensaft and Jurkiewicz’s prose is engaging and clear, making the often-misunderstood topic of gender identity approachable for readers from all walks of life. As cis women they deconstruct and reflect on their own journeys, their histories and the experiences of their clients to engage effectively.

Diane Ehrensaft and Michelle Jurkiewicz

Gender Explained has at its heart a compassionate commitment to inclusivity and understanding. The authors present a series of definitions or concepts and also weave in real-life stories and case studies that breathe life into the theory. This human-centred approach helps readers relate to and empathize with experiences that might be different from their own, fostering a deeper connection and understanding.

The book also emphasises supporting gender creative individuals in finding and expressing their authentic selves. Whether you’re a parent looking to support your child, a teacher wanting to create a more inclusive classroom, or a clinician seeking to expand your understanding, Gender Explained provides tools and insights needed to navigate this complex terrain with confidence and compassion.

Ehrensaft and Jurkiewicz have delivered a meticulously researched and engagingly presented guide, a resource, and a manifesto for a more inclusive understanding of gender. In an era where so much about gender identity is deliberately politicised and misunderstood, this book offers a refreshingly clear and compassionate exploration. For anyone looking to broaden their understanding of gender in a gender-creative world, this book is not just recommended—it’s necessary.

“A beacon of clarity and compassion and an invaluable resource for anyone seeking to understand the complexities of gender beyond the binaries.”

For us in the LGBTQ+ community, Gender Explained feels like a long-overdue recognition and validation of diverse identities. For allies and advocates, it provides a roadmap to deeper understanding and more meaningful support. And for the uninitiated, it offers an eye-opening education that breaks down barriers and opens hearts.

This book doesn’t just explain gender; it celebrates the spectrum of human identity, encouraging all readers to embrace a world where everyone can live as their true selves. It is a testament to the resilience and creativity of the human spirit, and a powerful reminder that understanding and acceptance are the keys to a more just and equitable society.

In a time when so many voices are trying to speak over one another, Ehrensaft and Jurkiewicz’s Gender Explained cuts through the noise with clarity, compassion, and above all, hope. Whether you are looking to better understand yourself or someone you love, this book offers the wisdom, empathy, and guidance we all need, it’s a vital addition to any queer bookshelf and an indispensable tool for fostering a more inclusive world.

Out now, £16.99.

For more info or to order the book see the publisher’s website here.

REVIEW: No Fit State – ‘Sabotage’ at The Level, Brighton

Posted on by Eric Page

Review by Eric Page

Cardiff-based No Fit State’s show Sabotage is a thrilling, reflective, and visually stunning celebration of contemporary circus that manages to honour tradition and break new ground in its execution. From lights up, it is clear that the company takes immense care and creativity into every aspect of the production, aiming to make it an unforgettable experience for audiences of all ages.

They have attention to detail,  costumes carefully crafted  that complements and enhances the performance. The range of performers is as diverse as the colours they wear, representing a broad spectrum of backgrounds, gender presentations, talents, and physicalities. This diversity is not just a visual delight but testament to the inclusive ethos of No Fit State, where every performer brings something unique and essential to the show.

The live band sets the tone for the evening. Their music feels like a masterful remix of Dead Can Dance and Mercan Dede, but with a distinctive twist of Mexican trumpets that inject a vibrant, earthy energy into the performance. The band’s soundscape is integral to the show, creating a rich atmosphere that ranges from haunting to exhilarating, and everything in between. They don’t just accompany the action; they elevate it, making the music as much a part of the spectacle as the acrobatics and aerial feats.

Pic by Mark J Robson

And what feats! No Fit State excels at taking traditional circus arts—trapeze, tightrope, juggling, and more—and reimagining them in ways that are fresh, exciting, and full of “wow” factor. The performers are clearly masters of their crafts, but they also bring a playfulness and creativity to their acts that make each moment feel like a revelation. Whether it’s a daring aerialist defying gravity or a juggler turning the ordinary into the extraordinary, every act is a reminder of why circus remains such a powerful and beloved form of entertainment and how a gritty urban gang of intersectional performers are really inject their own unique vibes into their circus art forms.

One of the striking aspects of Sabotage is its use of staging and space. The production plays with the traditional boundaries of theatre,  deconstructing the ‘workings’, allowing the audience to be drawn into the performance, not just as spectators, but as participants in the experience. This clever use of space and interaction adds a layer of intimacy to the show, making it feel like a shared adventure rather than a distant spectacle. You can see this crew are having fun; their playful interactions on show.

Pic by Mark J Robson

While the overarching narrative of Sabotage is intriguing, it is a bit intermittent, but hey that’s a critic’s eye; sometimes they’re spot on with their politics, other times it feels as if the story starts strong, pulling the audience into its world, but then takes a back seat to the sheer physicality and artistry of the performances. In a show where the visual and auditory elements are so compelling, the narrative can afford to stepback.

The show is a family-friendly event. No Fit State’s commitment to accessibility is commendable, with the inclusion of a “changing places” public bathroom on site.

The finale of the first act is jaw-dropping, a masterclass in theatre and circus skills that leaves the audience breathless. The cast is a revelation, each member a multi-talented force of nature, seamlessly transitioning between roles as musicians, acrobats, aerialists, performers, singers, riggers and crew. This collective genius meshes together to create a show that feels like a living, breathing community of artists, each supporting the other in a way that is both heartwarming and mesmerising.

The palpable sense of community that permeates Sabotage brings a warmth and delight that makes the show not just a performance, but an experience to be cherished. It’s a testament to the brilliance of No Fit State that they can create a show that feels so alive, so vibrant, and so utterly unforgettable.

Until 1 September at The Level, Brighton

For more info or to book tickets see their website here:

BOOK REVIEW: ‘DeadEndia Volume 3: Divine Order’ by Hamish Steele

Posted on by Eric Page

DeadEndia Volume 3: Divine Order is a triumphant conclusion to Hamish Steele‘s groundbreaking graphic novel series, delivering a perfect blend of humour, heart, and queer representation that will leave readers both satisfied and hungry for more. The positive  impact of Steele’s work in creating a world where TNBI and queer characters are front and centre, their identities celebrated and integral to the story without being reduced to tokenism or stereotypes is wide-ranging. His books were picked up by Netflix and turned into hugely popular series DeadEnd: Paranormal Park.

DeadEndia follows the adventures of Barney, a trans man, and his best friend Norma as they navigate the supernatural perils of their summer job at a haunted house attraction in a theme park that doubles as a portal to Hell. Volume 3 picks up where the previous instalment left off, with our heroes facing their greatest challenge yet: saving the multiverse from an impending apocalypse.

Steele’s art continues to be a visual feast, with vibrant colours and expressive characters. The character designs are diverse and inclusive, representing a wide range of body types, ethnicities, and gender expressions. This commitment to representation extends beyond the main cast to background characters and even otherworldly entities, reflecting the beautiful complexity of our own world.

Divine Order seamlessly weaves complex themes of identity, belonging, and self-acceptance into its fantastical plot. Barney’s journey as a trans man is treated with sensitivity and nuance, exploring the ongoing process of self-discovery and the challenges of navigating relationships and family dynamics. Steele doesn’t shy away from the difficult moments but balances them with moments of joy, affirmation, and triumph that will resonate deeply with trans readers while educating and inspiring allies.

Norma’s character arc is equally compelling, as she grapples with her asexuality and the pressures of societal expectations. Her friendship with Barney remains the emotional core of the series, showcasing a beautiful example of platonic love that defies stereotypes and celebrates chosen family.

The supporting cast shines just as brightly, with Pugsley the talking pug and the demon Courtney providing both comic relief and surprising depth. The evolution of Courtney’s character, offers a poignant exploration of redemption and the power of love to transcend boundaries – both dimensional and personal.

Steele’s writing is sharp, witty, and often laugh-out-loud funny. The dialogue crackles with energy, and the pop culture references are cleverly woven throughout without ever feeling forced. But it’s in the quiet moments between characters where the true magic happens, as Steele captures the awkwardness, tenderness, and complexity of human (and non-human) relationships with remarkable authenticity.

The plot is a wild ride that manages to tie up loose ends from previous volumes while introducing new twists and turns that keep readers on the edge of their seats. The stakes are higher than ever, but Steele never loses sight of the character development that has made the series so beloved. Each challenge our heroes face serves to deepen our understanding of their motivations and strengthen their bonds with one another. I loved the wonderful deftness of the final denouement and how it rippled back through the series trying everything up.

Steeles work is rooted in exploration of found family and community. In a world where many LGBTQ individuals face rejection from their biological families, Steele presents a vision of acceptance and love that is both heartwarming and empowering. The diverse cast of characters comes together to form a supportive network that celebrates each other’s differences and stands united in the face of adversity.

The book’s treatment of mental health is deft. Characters deal with anxiety, depression, and trauma in ways that feel authentic and relatable. Steele doesn’t offer easy solutions but instead shows the ongoing work of healing and the importance of seeking help and support from others.

As the story reaches its climax, Steele delivers action sequences that are both visually stunning and emotionally resonant. The final confrontation is not just a battle of good versus evil, but a profound meditation on the nature of identity, the power of self-acceptance, and the strength that comes from embracing one’s true self.

The resolution of the series is deeply satisfying, offering closure while leaving room for readers to imagine future adventures for these beloved characters. Steele strikes a perfect balance between tying up loose ends and acknowledging that life, like identity, is an ongoing journey of growth and discovery.

DeadEndia Volume 3: Divine Order is more than just a fantastic graphic novel – it’s a cultural touchstone that pushes the boundaries of queer representation in media. Steele has created a work that will undoubtedly inspire a new generation of LGBTQ+ artists and storytellers to share their own unique voices with the world.

For LGBTQ+ readers, especially young adults, this book offers much-needed validation and representation. It’s a safe space where queer identities are normalized and celebrated, where struggles are acknowledged but not defined by, and where hope shines brightly even in the darkest of circumstances.

But the beauty of DeadEndia is that its appeal extends far beyond the LGBTQ+ community. Its themes of friendship, courage, and self-discovery are universal, inviting readers of all backgrounds to connect with its lovable cast of characters and immerse themselves in its colourful, chaotic world.

DeadEndia Volume 3: Divine Order is a masterpiece of queer storytelling that cements Steele’s place as one of the most important voices in contemporary graphic novels. It’s a fitting end to a series that has pushed boundaries, challenged norms, and brought joy and representation to countless readers. Whether you’re a longtime fan or new to the series, this book is an absolute must-read. Steele has created a work of art that will be cherished, discussed, and revisited for years to come – a true classic of LGBTQ+ literature that reminds us all of the power of storytelling to change hearts, minds, and worlds.

Out July 25th £20 Paperback( £30 Hardback)

For more info or to order the book see the Publishers website here:

BOOK REVIEW: Freakslaw by Jane Flett

Posted on by Eric Page

A Glorious Ode to Queerness: Jane Flett’s “Freakslaw”

In the dark noir heart of LGBTQ literature, Jane Flett’s “Freakslaw” slides in as a magnificent celebration of difference and diversity. From its opening pages, the book relishes in the unique and the extraordinary, inviting readers into a dark, vibrant, universe where the unconventional is not just accepted but glorified.

Flett’s narrative is steeped in a rich tapestry of pagan rituals, carnival mystique, and the whimsical charm of a travelling fairground. These elements intertwine seamlessly with queer narratives, creating a hauntingly beautiful and energetically defiant story. The dark energy that pulses through “Freakslaw” propels the story to a breathtaking crescendo, leaving the reader in awe of its raw power and emotional depth. In a small parochial Scottish town life goes on in dull suffocating monotony, but there’s a reckoning in the air, for ancient crimes as something wicked this way comes.

Freakslaw is a superb metaphor for the queer community. Flett masterfully uses the metaphor of the travelling carnival and freakshow—a space historically seen as a display of the “other”—to explore themes of acceptance, belonging, and the search for family. This book is a poignant reminder of the strength found in chosen families, and the comfort and love that can be discovered under the diverse Queer umbrella. The protection a self-defined space can offer and the idea of sanctuary that offers hope from stifling small town repressions.

The characters in Freakslaw are richly drawn and vividly alive, each contributing to the gaudy tapestry of the narrative. They embody the myriad experiences and identities within the queer community, from the flamboyant and fierce to the quiet and introspective. Through these characters, Flett paints a picture of a world where everyone has a place, and every identity is celebrated.

The carnival setting is more than just a backdrop; it is a living, breathing entity that enhances the story’s themes. The atmosphere of the travelling fairground—with its transient nature and eclectic mix of people—mirrors the experiences of many within the Queer community. It’s a place where those who have been marginalized can find acceptance and create their own sense of home and family. Where drama is standard and life is for living.

Flett’s prose is lyrical and evocative, capturing the essence of the carnival and its inhabitants with a poet’s touch. Linking in ancient wrongs and the idea of generational guilt, of communities having to atone for the crimes of forbearers and how spirits cry out for justice and vengeance. The book’s pacing is controlled, building tension and suspense as the story unfolds, leading to a crepuscular brutal climax that is as inevitable as it is surprising. The resolution ties together the various narrative threads in satisfying and thought-provoking ways.

The book’s exploration of pagan themes adds a layer of spiritual depth, connecting the characters’ personal journeys to broader, ancient cycles of life, death, and rebirth. This connection to the natural world and its rhythms underscores the book’s message of unity and belonging, suggesting that, just as in nature, diversity is not just tolerated but is essential to the richness of life.

In Freakslaw, author Flett has crafted a work that mirrors the experiences of many within the LGBTQ community who seek acceptance and belonging in a world that often feels transient and unwelcoming. The carnival’s vibrant energy and eclectic mix of characters provide a rich backdrop for the story’s unfolding drama. It’s a profound metaphor for the Queer community. The freakshow, historically a space of exploitation and marginalization, is transformed in Flett’s hands into a symbol of empowerment and celebration. The retribution saturated wheels of serving justice on the historical heirs of perpetrators of bigotry and hate  that turn withing the dark heart of Freakslaw make the book a deeply resonant and inspiring read whilst offering savage resolutions to inflicted pains from patriarchy and heteronormative pressures which speak to Queer righteous anger.

Freakslaw is an candyfloss tinged exploration of the concept of chosen family. In a world that often feels alienating and hostile, the characters in Flett’s novel find solace and support and redemption within this makeshift community. A shivering, gloamy delight of a read.

Out now £16.99   Hardback & ebook

For more info or to order see the publishers website here. 

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