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Brighton Fringe PREVIEW: Professional Breakup Artist – Annabelszki

Original and unruly humour about contemporary queer life.

SHARE the highs, lows, and downright hilarity of the eternal scramble to seek, find, and inevitably lose, the woman of your dreams.

Be taken by the hand and gently guided through the ridiculous scenarios that the search for love, Ms Right, or just a good hard… can entail.

An authentic narrative, exploring the contemporary minefield of lesbian love, lust, dating, and break-ups. An energetic, comedic and poetic voyage.

Brighton-based performance artist Annabelszki delivers a fusion of stand-up, audience interaction, improv, and comedic poetry.

Annabelszki invites the broken hearted of Brighton and Hove in for a consultation: the Professional Breakup Artist will see you now …

A one-woman cabaret aimed at anyone who has ever experienced: a disaster date, sex, love, being in a relationship or being dumped.

Expect audience interaction, a multitude of sexual references and a unique use of props!


Event: Professional Break Up Artist: ANNABELSZKI

Where: Sweet Werks 2, Werks Central, 15-17 Middle Street, Brighton and Hove

When: May 25, 26 & 27

Time: 7pm

Cost: £6-£8

To book tickets online: click here:

18+

INTERVIEW: And the winner of Pride’s got talent is…..

Pride’s Got Talent finalist Andrea Giovanni talks about being in the queerest competition around, androgyny, Rupaul, and the struggles of growing up in a strictly religious family.

ANDROGYNY. Music. Fashion. What do these things have in common? Andrea Di Giovanni.

The Italian singer-songwriter has taken his unique style and sound right to the finals of Pride’s got talent, and this weekend he’ll battle it out at the Charing Cross Theatre in London, in the hopes of slaying the house and donning the title of winner.

“I am so excited, I can’t wait! I’ve been trying to get to the finals for the past 3 years and never made it, so being part of it now is great!” he told me, brimming with zeal and zest. “It’s like having a second family. It’s so much fun, you meet other incredible, talented artists and we all do our thing with pride, which makes you feel right at home.”

As Rupaul once said:  “When the going gets tough, the tough reinvent,” and Andrea did just that. Moving from his family in Italy to London at just 18, the singer set his sights on stardom. He pushed to pursue his music seriously, after TV show exposure in Italy.

It was then that “I realised I had what it takes and decided to go full-time with it, with the first step being moving to London!” he enthuses.

Enrolling himself at the British institute of modern music (BIMM), Andrea lit the flame that would lead him to the stages of Pride’s Got Talent. And as a fellow BIMM alumni, I wanted to know what London’s school of music had to offer our star.

“Aw, BIMMers everywhere! Haha.” he joked. “I’ve spent the best years of my life at BIMM. I’ve learned so much about myself and my abilities, perfected my craft, found my own musical identity and made great connections.”

“There had been difficult moments […] being bullied and shamed for being different and feeling a lot of confusion due to my sexuality.”

Moving away from home at such a young age must have been difficult (let alone moving countries), but for Andrea, it was a necessary evil.

“I felt a sense of relief moving to London, I immediately had the feeling that it was the right place for me to fully discover and accept my sexuality, and therefore thrive as a person and artist. It was great regardless my choice of moving away, my family were supportive in the best way they could and I was surely loved.”

And thanks to the move, Andrea was able to immerse himself in an LGBT+ community for the first time. “It’s like a big family, we support and look after each other. It’s great and we are working hard to make every part of the community feel represented and respected. I’ve never really approached my community back in Italy, I was way too scared to do so!”

“Discovering […] my sexuality made me feel like religion itself would not accept me, and made me feel scared,”

But it wasn’t always plain sailing for Andrea. He grew up in a strictly Catholic family, and of course there were some issues the rules of religion imparted on him.

“There had been difficult moments throughout my teenage years though, such as being bullied and shamed for being different and feeling a lot of confusion due to my sexuality. I guess that for years it made me feel like I lived in a bubble. I would follow the rules but never really questioned why. God’s words and all of that. Growing up though, things changed and I started to realise that I didn’t quite like it, nor believe in it quite frankly, and I took a step back. Also, discovering more and more about my sexuality made me feel like religion itself would not accept me and made me feel scared, wrong, so I completely despised it.”

But that’s all behind him now, and with the help of drag superstar Rupaul, Andrea has crafted his fabulously musical crossdressing career. “Androgyny spoke to me straight away, I’ve always been the guy with feminine traits and mannerisms and it’s exciting, it breaks the boundaries of gender and it questions masculinity, or at least our society’s conception of it, at its max. Seeing the platform he [Rupaul] created and how brave he was while doing so, makes me so inspired. Also thanks to him and the art of drag, I’ve learned not to take myself so seriously all the time and to have fun with people’s opinions and judgements, because, at the end of the day, if you’re not having fun, neither is your audience.”

Now his look might be inspired by Mama Ru, but his music definitely isn’t. Andrea’s new single Our own way is out soon, encompassing everything from Whitney Houston to Mary J Blige, to Michael Jackson and Queen.

But what is it about? “Our Own Way is a song I wrote 2 years ago and it talks about a breakthrough moment in my life,” he explains. “At the time I was with a girl but realised that it wasn’t what I really wanted, so I decided to follow my own way and my own path towards happiness,” – a story many can relate to.

And when our little chat concludes, Andrea leaves with a parting gift we should all live by. A quote from Mama Ru that just encapsulates Andrea’s arduous journey towards stardom, and the struggles he’s faced along the way to becoming the fabulous musician a performer he is.

 “Unless they’re paying your bills, pay them b*tches no mind.”

The final of Pride’s Got Talent is on Sunday, April 29 at Charing Cross Theatre, Villiers St, WC2N 6NL London, United Kingdom from 6-10pm.

Tickets cost: Early Bird Stalls £12: Standard Stalls £15: Benches (5 seats each) –  £120 – includes a bottle of bubbly!: Balcony (9 seats) – £240 – includes two bottles of bubbly!

To book tickets online, click here:

REVIEW: Present Laughter @Chichester

Present Laughter by Noel Coward

Director Sean Foley

Actor, charmer and diva, Garry Essendine is determined to disregard his advancing years and receding hairline by revelling in his endless tantrums and casual affairs, but as he is about to depart for Africa, he’s besieged by a bevy of would-be seductresses, not to mention his long suffering secretary, his estranged wife and an obsessed young playwright. As he attempts to disentangle himself from their clutches and demands, the humour escalates, accompanied by farce and sparkling repartee.

Rufus Hound and Katherine Kingsley star in this Noel Coward period piece and the play is played loud and brash with a lot of daft and funny physical slapstick, endless moments of synchronised movements and oddly focused character traits.

It’s a bold shove in the direction of comedy sitcom from director Sean Foley and although it’s paced well and climbs to its inevitable tottering pinnacle of farce, it’s a firm loud schlep to get there.

Tracy-Ann Oberman’s performance of secretary Monica Reed was a delight, full of barely their distain and her timing was spot on, she’s an essentially perfect comedy actress, pitching her lines flawlessly and staying engaging all the time.

Hound is at shouting pace from the off and never lets off of the steam which detracts from his severe gibes, the delicate and well-judged foiling of his overacting of overacting from Kingsley gives just enough balance to make it work, but there were occasions when I wanted him to quieten down a touch and let the words do their magic.

This candyfloss and flimflam hide the mean heart of this play – these selfish entitled greedy people who will do anything to preserve their privileged status and its more circus that critical and a lot of Cowards needle sharp insults are softened in the spitting, spouting, splashing, squirting of various liquids and lines, some of them are lost altogether in the subsequent froth. The humour (unlike the acting) is played so sotto soft as to be virtually unchallenging which means the majority of the audience giggled along.

I enjoyed the bounce, verve and relentless narrative steam rolling.  Coward was never a scaredy-cat when he could spear his peers; you’ll snort at some of the lines in the most deliciously vulgar way as did some of the Festival theatre audience. A few folk like me snorted at the ‘wrong’ place at the relentless misogynistic yuck but director Foleys attention on the daft has managed to water down the inherent sexism of this play and rendered it sweet, no mean feat in itself and rather refreshing.

Its funny Downtown, ghastly glitterati, its posh folk who talk like type writers and act like them too, it’s staid and hypocritical haut monde and folk love it.  This is a tight team on stage, well-rehearsed, relaxed & also enjoying themselves enough to get the giggles on press night.   No sense of ripping it open and looking at this nasty stuff more closely, but then when it’s this charming, why bother and that’s part of the delight of this play, it mirrors itself perfectly, a sudsy infinity of vanities.

The play looks great, Alice Power’s set is a good-looking piece of work, doors opening and closing, (and slamming which should be softened), rooms off hinted at, movement and comfort , the feel of a very public private space, splendid costumes with some spot on details. Oh those mauve shoes that Tracy-Ann Oberman wore, I wasn’t the only person gushing over them in the interval , lighting and music picked with a real eye on the period and this adds to a feeling of something glossy and frothy and fun, like  the characters want to be.

For full details of the cast and creatives, click here:

Rufus Hound is ok in a part Noel wrote for himself, but he’s absolutely not believable as a devastatingly handsome heart-throb who drives folks to obsession and distraction. The rest of the cast put as much effort as possible into making these manikins of pose and projected wit seem human and believable, some of them just giving up and giving us daft and slightly nutty performances which brought some fresh laughter out, but deep, deep, down this is desperately shallow stuff, perfect Coward.

This soft touch cartoony production works mostly from the engaging efforts of this tightly rehearsed cast, but every moment is milked for laughs, each walk has its wobble, it crescendos perfectly and we are left gasping at the daftness and dexterity of this cast.

We wandered out into the evening, the moon high in the sky, the fairy lights twinkling in the trees and my companion bubbling delightedly about the show as I enjoyed the gentle mumbling of the crowd. The full audience found it a very comfortable treat indeed and the perfect opening entertainment at the Festival Theatre.

Runs until May 17

at Festival Theatre, Chichester

To book tickets online, click here:

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