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REVIEW: Séayoncé: She Must Be Hung! @ Spiegeltent

Séayoncé: She Must Be Hung!

Brighton Spiegeltent

Having seen them in the Fringe last year,  I was well up for a night of supernatural queer delight with Séayoncé, the latest enchanting show by rising comedic star Dan Wye at the Spiegeltent. This show is a mad mystical mix of psychic puns and otherworldly humor that will leave you bewitched and roaring with laughter.

Séayoncé herself embodies pure cat-like charm, prowling the stage with a whisker-licking, retractable-claw playfulness that holds the audience in a hypnotic trance. Her talent for teasing and toying with the crowd is nothing short of magical, using audience participation in wonderfully bonkers ways to conjure up action and laughter. With Séayoncé, you’re not just a spectator; you’re a crucial part of the séance, the main focus of their terrific ability to affirm and left glowing, or a tired worn out play thing to be tossed aside with ruthless charm, or both. So confusing, so brilliant.

Adding to this spellbinding spectacle is the “straight” accompanist, the genuinely psychotic musical genius Robyn Herfellow. Herfellow is a delight, offering menace and charm in equal measure, with a touch of the threatening that keeps the audience on edge. Their musical wizardry and perfect comedy timing, complements Séayoncé perfectly, making their dynamic duo a joy to behold. This is divine diabolical drag at its best, ozzineg sassy charm, referencing every camp OTT villain and vintage movie star, but all folded into a unique presentation of believable fleshed out  performers.

This superb show “She Must Be Hung!”, is a deliciously deconstructed witch trial that spirits the audience away to a village in the woods. Here, the audience becomes the village mob, bound together to judge the witch. In this magical setting, Séayoncé transforms the audience into a chorus, backing choir, principal witnesses, and co-mages, making everyone feel like part of the enchanted proceedings.

Séayoncé is more than just a well polished very funny comedy show; it’s a warm-hearted lesson in looking beyond the lazy surface, examining the motives of the nasty voices in the culture wars, and discovering the inner power that all Queer people possess: Community.  Together, we are powerful, as long as we embrace the real truth. While the show is rooted in strong political foundations of radical love and acceptance, these messages slide past as sharp as a razor, cleverly wrapped in endless puns, jokes, setups, callbacks, and wonderfully daft and dry wordplay. There’s a delightful full on  bonkers Tim Curry edge to Wye as he allows one of his slow burner terribly corny but utterly clever and delightful puns to slide past those just lickced lips… He is a joy to watch perform, and much as enjoy the performance. His is a sixth sense for comedy!

This show likely has more jokes that land, work, and make you laugh than half the rest of the Fringe combined. This is a master class in filthy innuendo and faux innocence. The audience absolutely adored it, rewarding the performance with a well-earned standing ovation, a moment of proud togetherness and queer joy. Dan and Robyn deserved every bit of their praise. Brighton Spiegeltent loved them.

Séayoncé is rooted in pure joy and the power of love. It’s a night of joyous supernatural chaos you won’t want to miss. This show is an absolute tour de force, brimming with psychic puns and supernatural humor, Queer comedy and put downs to savour,  that will leave you cackling with delight.  With just the odd visit to Brighton you’ll need to go find a ticket to the next set of shows and then get on that broom and settle in for the ride of your cabaret life.

This Friday -24th May , as part of the Weekend of Weird there’s the chance to catch the seriously funny Siblings & Séayoncé: House of Horror guaranteed to leave you in  high spirits.

For more info or to book tickets see the Spiegeltent website here 

 

REVIEW: ‘Madame Chandelier: A Night at the Opera’ at Brighton Fringe

Madame Chandelier: A Night at the Opera at the Brighton Fringe is an opera-tunity you don’t want to miss!

The star of the show, Madame Chandelier, with her huge, pink, and magnificent wig, is an absolute delight. Canadian-British opera singer and comedian Delea Shand brings Madame Chandelier to life, physically embodying her heroines with daft accents and hilarious physical and musical comedy that leaves the audience both happy and laughing.

Madame Chandelier tells us her back story as the show develops: she is an aspiring opera singer striving to burst onto the international stage. However, after a series of bruising rejections, one of which is shared with us allowing us to hear a wonderfully sung comedic exploration of delusion. These setbacks don’t stop her – they just fire her up and she turns her attention and vocal power to saving the heroines of opera.

Through humour and her powerful singing, she exposes the misogyny, violence, and abusive relationships that female characters often endure in operatic plots. Divas endlessly die due to  miserable curable diseases, jealous fathers/brothers/lovers, suicide, and tragic accidents. Madame Chandelier sings about these grim fates in a delightfully whimsical aria accompanied by an accordion. It’s deliciously dark, but frothy.

But fear not, for Madame Chandelier doesn’t leave the heroines to their dismal destinies. She invents interventions that allow them to live happily ever after, each solution becoming progressively sillier and more entertaining. Her comedic brilliance and superb voice make the show a perfect blend of fun and meaningful commentary. It’s a joy to see opera presented in such a light-hearted manner, yet carrying a serious message underneath.

The show works for people with no knowledge of opera or established fans, the humour and musical talent allowing Madame Chandelier to share her own infectious love and deep understanding of the artform in a silly, sassy, accessible way. You’ll leave having learnt something as well as watching Carmen karate chop her way out of an attempted murder to live on and become a bullfighter! Bravo!

The show is also fun for kids, with some joining in on the light audience participation, adding to the fun. This is a lovely way to enjoy some of your favourite music, gain a deeper understanding of opera, and most importantly, have a good laugh at a wonderfully inventive idea presented with aplomb. Madame Chandelier is a superhero opera singer, a wonderwall woman on a mission to save opera from itself.

One of the show’s highlights was her Queen of the Night aria, performed right in front of  us with a running commentary in a guttural Germanic accent, hilariously portraying a mother’s exasperated complaining about her daughter’s lazy attitude towards assassination.

Madame Chandelier’s blend of humour, charm, and vocal talent makes this a perfectly odd Fringe show that is both lovely and enchanting. Madame Chandelier: A Night at the Opera is a performance that hits all the right notes.

Don’t miss out on this operatic Fringe gem her next show is today Sunday, 19th May at 2pm

For more info or to book tickets see the Brighton Spiegeltent site here

BRIGHTON FRINGE REVIEW: ‘United Queendom’ at Spiegeltent

Get ready to sashay your way to the most fabulous night out with United Queendom, a dazzling extravaganza featuring a cast of international circus and cabaret superstars that will leave you gagging for more!

Our queen of the night, Mistress of Ceremonies Chastity Belt, is the epitome of sophistication and down-to-earth charm. She holds the audience in the palm of her hand, flirting and teasing all night long. Singing about the downright foolishness we all face in our search for love, sex, and everything in between, Chastity’s sensational outfits float around the stage with effortless control. And darling, when a drunk heckler tried to steal her thunder, she shut them down with a style so fierce, it was pure catwalk meets courtroom drama. Pure. Class.

United Queendom is the perfect blend of sensual and erotic, racy and raucous, yet surprisingly safe for an 18+ Fringe night out. There’s no nudity here, just pure, tantalising suggestion without the filth, making it a refreshing experience. This show is part catwalk, part cabaret, fusing fashion, circus, burlesque, and drag into a glorious celebration of self-expression and empowerment.

Let’s talk some of the highlights from the entertaining and engaging show! Little Finch, those sassy aerialists, handsome husband due, who whip through the air with stylish, lightning-fast artistry. They close the show with an elegant Gautier-inspired smooching sailor act that’s all quick-fire contortions and in the air drop changes, making the audience gasp at the furious tempo of it, elegant contours, and rope sashay work—simply breathtaking! These are the highest heels in the fringe, darling!

James Gill, working his steel hoop in a sequined kilt, is a vision of hotness and skill. All eyes were on his spinning ripped body as he seduced the audience with every move. Total mastery, but why the flesh coloured pants James? It’s Brighton, didn’t you pack a sequined jockstrap?

Force Majeure, showing us how burlesque should be done! Dripping with Big Cat conviction and couture costumes, their crystal-studded high fashion reveals had the audience rocking. Together, this fierce cast delivers a series of seamless acts that the crowd absolutely lapped up.

Ben Brown stalks on stage like they’ve walked out of Sunset Boulevard, this is Dior acrobatic realness. Brown then climbs and contorts themselves, writhing, twisting, muscles and balance in perfect harmony, at one point lifting themselves aloft on one hand, balancing on a thin silver pole, upside down while removing a shimming silk stocking off one leg with his toes, it’s daft, delicious, uttery queer and really fun.

See full list of cast and creatives here

The wooden, mirrored interior of this vintage venue creates the perfect backdrop for this slice of classic late-night cabaret with a vintage erotic Parisian feel. It’s pure Friday night Spiegeltent realness, darling! So grab your gang, head out, and bask in the inclusive embrace of Chastity Belt and her band of elegant artists.

United Queendom is where fashion, circus, burlesque, and drag come together in a celebration of life, love, and fierce artistry. Held warmly in the ample bosom of the utterly charming, audience affirming hostess Chastity Belt who nudges, encourages and seduces the audience up onto their feet to head off into the warm spring night buzzing.

Until 26 May at Brighton Spiegeltent

For more info and to book tickets see the Spiegeltent site here

BOOK REVIEW: ‘Love and Other Poems’ by Alex Dimitrov

Review by Eric Page

In Love and Other Poems, Alex Dimitrov masterfully weaves a tapestry of love that transcends boundaries, celebrating the myriad forms it takes in our lives. For LGBTQ+ readers seeking a literary journey that intimately explores love in all its dimensions, Dimitrov’s collection serves as a beacon of affirmation and connection by celebrating love’s tapestry.

Dimitrov’s poetic structure is both intricate and inviting, drawing readers into a world where love is omnipresent and diverse. The book is a mosaic of emotions, ranging from the tender to the passionate, the melancholic to the exuberant. Each poem is a brushstroke on the canvas of human experience, inviting readers to explore the depths of their own hearts.

One of the most captivating aspects of Dimitrov’s work is his ability to find and celebrate love in the most unexpected places. Whether it’s the fleeting glance of a stranger on the subway or the quiet moments of intimacy shared between lovers, Dimitrov reminds us that love is omnipresent, waiting to be discovered in every corner of our lives.

His exploration of love is not confined to romantic relationships; rather, he embraces the full spectrum of human connection, celebrating friendships, familial bonds, and the love we have for ourselves, he sees love in the shade, in the timeless throb of pain and in the moments when suffering pauses to breath.

Photo -Sylvie Rosokoff

Dimitrov’s prose is a testament to his mastery of metaphor and directness. Each line is imbued with a sense of urgency and authenticity, drawing readers into the visceral experience of love. His words resonate with power and vulnerability, creating a space where readers can see themselves reflected in his poetry.

Love and Other Poems builds upon Dimitrov’s previous work, showcasing his evolution as a poet who fearlessly explores the complexities of the human heart. His writing is infused with a sense of queerness that permeates every page, offering readers a unique perspective on love that is both sensual and rooted in the everyday. Through his words, Dimitrov invites readers to embrace their own queerness and celebrate the beauty of their identities.

Ultimately, Love and Other Poems is a testament to the transformative power of love and its ability to connect us to our shared humanity. For LGBTQ readers, it is a literary sanctuary — a place where our experiences are honoured and our hearts are seen. Dimitrov’s collection is a celebration of love in all its forms, reminding us that it is through love that we truly come alive.

Out now, £10.99

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

BOOK REVIEW: ‘In the Shallows’ by Tanya Byrne

Brighton-based author Tanya Byrne‘s In the Shallows isn’t just a story – it’s an emotional journey that speaks directly to the heart of young lesbians and the wider LGBTQ+ community. Set against the backdrop of Brighton, this slow-burn sapphic second-chance love story delves deep into themes of longing, loss, and the enigmatic power of memory.

With careful writing from the start, we are drawn into the mystery surrounding Nico, a girl rescued from the sea on New Year’s Day with no memory of her past. This miraculous recovery of someone thought lost offers a gripping narrative that explores the profound impact of forgetting and remembering on our sense of self.

Through Nico’s journey of self-re-discovery, Byrne invites us to contemplate the complexities of identity and the ways in which memory shapes our understanding of who we are, and those who keep those memories, and who cherish, chisel and craft those memories can also affect the way we remember who, and what, we are.

This is a YA novel, so it’s full of drama and passion, toxic relationships, immaturity, longing, emotional struggles and family trying to do the best for their emergent adults, and also parents set right against accepting what their teenagers are. Mara, a young woman grappling with her own demons and haunted by the memory of her lost love, has spent time grieving for Nico and acknowledging her unrequited love and, in her own clumsy way, finding a way to move on.

Mara is more than a touch obsessed about Nico, in an unhealthy doormat kinda way, a teenage crush of an unhealthy kind, Nico appears to be unaware of what Mara feels, and distances herself more and more before abruptly ghosting her just before her accident. When fate reunites Mara and Nico, their connection ignites a spark of hope amidst the desperately grasped shadows of uncertainty.

Byrne beautifully captures Mara’s hopes of an opportunity to actually experience love with this changed Nico and the sheer joy of finding someone believed to be lost forever. It’s a testament to the resilience of the human spirit and the transformative power of love to heal even the deepest wounds.

It’s also – from my older experienced queer perspective – a testament to daft teenagers, selfish undeserving focuses of desire and the way they’re obsessed with people who do them no good whatsoever. We all have that Ex who is really a ‘Why?’… but hey Kweeine the book ain’t written for you, so shhhhhh.

But just as Mara and Nico’s relationship begins to blossom, a looming twist threatens to unravel everything they hold dear. Nico’s gradual recollection of her past introduces a new layer of complexity and intrigue, leaving Mara to confront the truth behind Nico’s accident and previous behaviours. This compares and contrasts two very different types of parenting, giving us insight into the behaviours of the people who are supposed to hold our interest dear to their hearts.

As secrets are unveiled and alliances tested, In the Shallows builds to a crescendo of suspense that will keep readers on the edge of their seats until the very end. Brighton and the surrounding landscapes are evocatively written about by Byrne who embeds the action in a real gritty Sussex by the Sea, with all the elements of quirk and character that the big city can offer.

It’s difficult to discuss the ‘reveal’ here without spoiling the plot but I was uncomfortable with the way the motivations of the manipulative characters were used to drive the narrative on, it felt unsympathetic to a complex individual who were themselves wildly emotionally adrift. It’s a curious and brutal telling of this character’s story as what sets this novel apart is its portrayal of LGBTQ+ experiences with authenticity and nuance, but also without ever calling them what they are.

The word ‘lesbian’ is never used to talk about Mara and Nico’s relationship, but it is depicted with sensitivity and depth, capturing the raw emotions of teenage angst and the powerful, complex motivations of those around them who appear to have their best interests at heart. It’s a poignant reminder that love knows no bounds, that people do shocking things and that true acceptance lies in embracing our authentic selves, and that families can be hell, but can also heal. Perhaps here Bryne is showing that it takes people a long while to say the words for the first time that will define and shape their entire life.

In the Shallows is a must-read for YA LGBTQ+ readers seeking a story that will tug at their heartstrings and leave them breathless with anticipation. Byrne’s masterful storytelling and compelling characters make this novel an unforgettable exploration of love, loss, and the enduring power of memory. Her subtle detailing of intersectional and diverse families is lovely, based around traditions and food and the ways those adapt with second or third generation family members growing up in their own ways.

A lovely read for the young adult reader, so dive into the depths of In the Shallows and prepare to be swept away by its spellbinding tale of second chances and unbreakable bonds.

Out now, £9.99

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

Book Review Race Rules: What Your Black Friends Won’t Tell You by Fatimah Gilliam

Book Review

Race Rules: What Your Black Friends Won’t Tell You

Fatimah Gilliam

 

Review by Eric Page

Fatimah Gilliam’s “Race Rules: What Your Black Friends Won’t Tell You” offers a candid exploration of racial dynamics, urging readers to confront uncomfortable truths and actively work towards equity and justice.

The book is an innovative, practical manual for white people of the unwritten rules relating to race, explaining the unvarnished truth about racist and offensive white behaviours. It offers a unique lens from Fatimah Gilliam, a light-skinned Black woman, and is informed by the revealing things white people say when they don’t realize she’s Black.

Presented as a series of race rules, this book has each chapter tackling a specific topic many people of colour wish white people understood.  Gilliam’s work is commendable for its intersectional approach, acknowledging the complex interplay between race, gender, sexuality, and other intersecting identities. She recognizes that experiences of oppression are multifaceted, and her analysis encompasses the diverse lived realities of marginalized communities, including LGBTQ individuals of colour. She fearlessly confronts topics often brushed aside or tiptoed around in mainstream discourse. Through personal anecdotes, historical references, and sociological analysis, Gilliam sheds light on the myriad ways in which racism permeates everyday life.

One of the book’s strengths lies in its emphasis on solidarity and allyship. Gilliam provides practical strategies for dismantling racism, encouraging readers to move beyond passive sympathy towards active engagement. This intersectional perspective is particularly relevant for LGBTQ individuals, who often navigate overlapping systems of discrimination based on race, gender identity, and sexual orientation.

The emphasis on actionable steps for allies is a notable aspect of the book. She provides practical strategies for dismantling racism, urging readers to move beyond passive sympathy towards active solidarity. This empowers readers to engage in meaningful dialogue and enact tangible change within their communities.

Gilliam’s exploration of intra-group disparities within the Black community is crucial. By highlighting the diversity of experiences among Black people, she challenges monolithic representations and underscores the importance of amplifying marginalized voices. This intersectional lens fosters greater understanding and solidarity among communities facing intersecting forms of oppression.

While Gilliam draws from personal experiences and observations, the book could benefit from a broader range of voices within the LGBTQ community. Including diverse perspectives would enrich the narrative, providing a more comprehensive understanding of the intersecting oppressions faced by QTIPOC communities.

‘Race Rules’ serves as a thought-provoking exploration of race relations, offering valuable insights and actionable steps for allies. With a straightforward universal three-step framework to unlearn racism and challenge misconceptions, this book offers readers a chance to change behaviours and shift mindsets

Gilliam sheds light on the complexities of racism, urging readers to confront uncomfortable truths and actively work towards equity and justice. While the book is written from an American perspective, its candid approach and emphasis on solidarity make it a valuable contribution to the ongoing dialogues on challenging racism in contemporary society.

Out now £26.00 Paperback

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

REVIEW: Cluedo 2 @ Theatre Royal Brighton

Review by Eric Page 

Walking into Theatre Royal Brighton for Cluedo 2, I anticipated a suspenseful unravelling of mysteries akin to its namesake board game. Unfortunately, what awaited was a perplexing evening of poorly paced theatrics, stilted choreography, and lacklustre acting. CLUEDO 2 – The Next Chapter! is set in the swinging 1960s – there’s new suspects, a new house, and lot of new bodies, in this old tale of murder, mystery and a secret passageway.

From the onset, the pacing of the production felt as if it were dragging, with scenes hanging on longer than a game of Cluedo when everyone insists on examining every room twice. The choreography, used for set and space transformation, seemed more akin to awkwardly placed stumbling rather than any semblance of fluid movement. One could hardly discern whether it was intentional irony or sheer incompetence. 

Photo – Dave-Hogan

As for the acting, well, let’s just say Colonel Mustard would have been more convincing as a candlestick than some of the performers on stage. Their delivery lacked conviction, leaving the audience feeling more puzzled than engaged. One couldn’t help but wonder if they were all in on a joke that the audience had yet to grasp. It was the first night for this cast, so some allowances should be made, as there’s a lot of timing, placement and joke landing to get right, but it felt both slow and rushed – an impressive achievement, but the polish was missing. 

The set, constructed from cut-out doors, windows, etc rolling, twirling and being waltzed on and off stage, was perhaps the most intriguing aspect of the production, and that’s not saying much. It possessed all the charm of a hastily assembled game board, offering little in the way of narrative depth. Much like the plot itself, which seemed to unravel with all the coherence of a game of Cluedo played by a group of toddlers. At one dreadful point I thought they were going to sing.

Throughout the first half, one couldn’t shake the feeling that perhaps this was all an elaborate ruse, a sophisticated deconstruction of a bad play, courtesy of the mind behind The Play That Goes Wrong and the original, tightly plotted, slick, funny and sharp production of (the first) Cluedo from 2022. Alas, it became increasingly evident that this play was simply wrong, with no redeeming qualities. 

If there’s one silver lining to be found in this tangled web of theatrical missteps, it’s the brevity of the production. Like a swift accusation in the final moments of a Cluedo game, the end mercifully arrived, sparing the audience (and the cast perhaps) any further agony. 

Did I enjoy any of it? … Dawn Buckland as Mrs White produced a tasty, daft buffet out of the thin gruel of her material, bagging most of the laughs of the night. The costumes were rather good with some chic colour coding in keeping with the board games premise. The cliches are done with high panto camp and there was a fantastic range of accents on stage, often from the same character. I did laugh at one or two of the ornate innuendos to be fair but even that patience ran out with an overextended, vulgar, baked goods sketch, and the cast seemed to get into their stride in the last 20 mins.   

Cluedo 2 at Theatre Royal Brighton is a far cry from a gripping mystery and more like a panto – oh yes it is! With its poorly paced narrative, lacklustre choreography, and subpar acting, it fails to capture the essence of the board game. One can only hope that this tour sharpens up quick, doubles down on timings and sorts out the weirdly unprecise lighting. I’ll leave the last word to my companion: when I asked him for his ‘favourite part of the show’, he replied ‘when the curtain came down’.

At Theatre Royal Brighton until Saturday, 23 March  

For more info or to book tickets see the Theatre Royal website

BOOK REVIEW: ‘Countless Sleepless Nights: A Collection of Coming out Stories and Experiences’ by Carina Maggar

Review by Eric Page

Authenticity is often praised, and inauthenticity is criticised. We want people to be themselves. But what happens if the society we’re in isn’t supportive or even hostile toward who we really are? Or we don’t yet know. That’s the challenge facing many LGBTQ+ people in relation to coming out.

All we know of them is their age and location but this amazingly diverse collection of anonymous voices, have one thing in common: they are the clear, authentic voices of people like us who have made the same heart wrenching and difficult journey as most of us. Accepting themselves for what and who they are, living authentically as those Glorious Beings and then summoning up the courage, or realising they’ve nothing to lose by living honestly and telling people the truth of their lives.

Many of the stories touch on the loss and pain of family estrangements, frank, candid assessments of how being true is more important than living the lie expected of us by others. Stories tremble with possibility, of love found, lost, or allowed to slip through scared hands. There’s difficulty spoken of here too: abuse, violence, self-harm, suicide.

These are brutal truths we face. This book is a humbling read, reminding those of us, far, far from the Closet Doors of our own fearful embrace of our current lives, recalling the real strength it takes to make those first steps, and the whole life changing experience to just saying it ‘I am THIS!’.

The stories range from tragic to inspiring, from daft and cringeworthy to deeply profound and moving, with pathos, glory, honour, and raw electric delight threaded through them. Love flows through this book, gushes at us, warms us with its hope. I was touched by uprightness, the anonymity giving it the feel of voices in the dark, or chatting with strangers at an airport, snatched moments of startling clarity and honesty from people requiring to speak their truth.

Author Carina Maggar is a copywriter and creative based in London and has taken great care to curate this anthology. Most of the stories are accompanied by delicate pencil line drawing from illustrator Marine Buffard, some carefully coloured with a Japanese feel, drawn from subtle details of the narrative.

No two stories are the same, yet all are written by people who share the courage to be vulnerable, take huge risks to find love and acceptance and are brave enough to be their authentic selves. Whether you have any experience of coming out or not, these stories are incredibly powerful and moving.

Out now: £16.99, Hardback

For more info and to order the book, see the publisher’s website

REVIEW: Sister Act: The Musical @ Theatre Royal Brighton

Review by Eric Page 

If you’re looking for a night of pure joy, laughter, and fantastic music, look no further than Sister Act: The Musical at Brighton’s lovely Theatre Royal. From the off this production radiates fun, energy, and an infectious sense of joy that will leave you grinning from ear to ear. Based on, but not a copy of the famous film, we keep the silly singer, nuns and mafioso murder mix but have a range of new original songs deeply in the ’70s styles.

This is a musical about the joy found in singing and being all for nun and nun for all. Each cast member excelled in their solo performances, delivering powerful vocals that soared through the theatre with ease. From soulful ballads to upbeat gospel numbers, every song was delivered with passion and flair. And when the cast came together for duets, the harmonies were simply magical, sending shivers.

The ensemble singing piece are on point, funny and raise the rafters when these sisters get going. The whole cast rocks and turns it out, they’re on top nun form. Within the stellar performance there’s some standout moments: Kate Powell‘s Mother Superior giving us fine character development with her cut glass English voice as she first resists and them finally embraces the changes occurring around her.

Alfie Parker‘s Steady Eddie  is a comedic delight who showstops with his disco dream double reveal! Eloise Runnette’s Sister Mary Robert offers up a heartfelt belter of a hope filled number which brought the audience to its feet and had a few folk in tears. Then shimmering powerhouse Landi Oshinowo as Deloris is simply the best, allowing her powerful voice to wrap itself round the lyrics and rhythms, driving the emotional core of this musical and offering us as much tender reflection as bold, brassy assertion. She is hypnotic and nails the comedy timing each and every time. Her vocal range supporting this tender performance of finding yourself through supporting others, with some ultra cultural clash.

Full cast and creative info here

The energetic narrative pace of the show kept me fully engaged throughout. The story unfolds seamlessly, with plenty of camp humour and heartwarming moments along the way. It’s a feel-good journey that you won’t want to end. One of the highlights of Sister Act is its solid female lineup. From the sassy Deloris Van Cartier to the endearing Sister Mary Clarence, each character is brought to life with depth and charisma. The chemistry between the cast members is palpable, adding a layer of authenticity to the performance. Only the inevitable romance between Steady Eddie and Deloris feels a bit missed, but that’s some small criticism of a solidly entertaining night.

Let’s talk about the visuals. The costumes are vintage perfection, transporting you back to the glamorous era of the 1970s. The sequins are over the top camp, the colours are vibrant, and every detail is on point. There’s some delicious drag references and it’s all done with real passion and humble respect for the Catholic faith it’s rooted in. It’s a nice touch that the jokes aren’t at the expense of the sisters’ faith and gives this vintage musical a foundation in inclusion which echoes to a modern audience.

And the set? It’s huge and impressive, squished into the Theatre Royal’s Rococo spaces but throbbing with lights, projections and siding LED lit doors; presenting the various spaces the action takes place, providing the perfect backdrop for the dazzling performances.

A special mention must go to the band, directed by Tom Slade, whose musical support elevated the entire production. The sound was balanced to perfection. The clever lighting added to the atmosphere, creating moments of drama and spectacle that captivated the audience.

UK Tour details here

The auditorium was sold out, packed, and throbbing with expectation and the audience was well-behaved and seemingly thoroughly enjoyed the show. The energy in the theatre was electric, with laughter and applause ringing out after each number.

Sister Act: The Musical is an absolute delight from beginning to end. It’s a testament to the power of music, laughter, and sisterhood, and it left me smiling long after the final curtain call. Don’t miss your chance to experience this uplifting and entertaining production – it’s an evening you won’t soon forget, what a Nunderful world, this is one class act, Sisters.

For more info or to buy tickets (if you can) see the Theatre Royal website here

BOOK REVIEW Wild Things by Laura Kay

Wild Things

Laura Kay

Review by Eric Page

El Evans is stuck in a dead-end job, hopelessly in unrequited love with her best friend, Ray, and in need of a major life change.

After a New Year’s resolution to ‘Be More Wild’, El is soon in possession of one tattoo, one  hangover and memories of one, very disappointing threesome,  but she’s trying and surely it can only get better?

Setting off with three friends; Ray the DIY expert, heartbroken Will and Instagram darling Jamie to do a ‘wild thing’ and fix up a dilapidated house on Instagram in a small country village El worries and reflects on her lost time &  her love life, grappling with a monumental all-consuming crush on her housemate Ray. Author Kays’ wonderful prose, picks up small, delightful moments of El’s life to sustain, embellish and empower living communally. Teasing us with the throbbing crush, stolen looks and burning touches of will they, won’t they possibilities of passion. There’s no surprises in what happens here, but that doesn’t diminish the narrative allure of its unfolding.

Living so close offers the opportunity to discover more about the others, their heartbreaks, their online influencing, and the reasons that brought them all together in the first place. Kay explores the dynamics of Queer chosen families with care, teasing out how trust, unconditional acceptance and daft Queer Joy can be ties that bind. These queer friendship are accepting, warm, messy, and believable and the interactions between these delightful characters made me laugh out loud, with some gloriously camp comedy touches and perfect timing folded in. The chickens & hens they adopt deserve a book of their own! The wider outside village life – its gossip, drama and interests, is an appealing foil to the emotional journeys of the housemates.

There’s a goofy joyful quality to this book, and to our charming protagonist El, she’s fumbling, but clever, astute but slightly shy, confident but unsure and blissfully unaware of some of the deeper feelings of the people around her, leading to plenty of humour and sensitive explorations of managing friendships and your own expectations of life.  The tremulous knowledge of being so close to her heart’s desire and having to the daily struggle of household tasks and chores is handled with a deft warmth that reminded me of how lovely author Kay’s writing can be. Kay is touch perfect with their throwaways, deeply insightful personal observations, and the small sentences we use on ourselves to keep our chins up.

It’s a frightfully British adventure, with an eye on the American market, but there’s no artifice here, in the same way that Tales of the City is intrinsically American, so Wild Things wears it’s small b britishness on it’s perfectly knitted sleeve.

An entrancing, delightful book about listening to your inner voice (and its deeper under currents of desire) and choosing the path less trodden, being impulsive, following your dreams and finding yourself out there, wild and energised. Left me smiling and warm, a real treasure of a Queer Rom Com.

Out now £9.99 ( Paperback)

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

 

 

 

 

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