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Fringe REVIEW: Cooked @The Rialto Theatre

While the very good-looking student/shelf filler at Foyles bookshop, Adam, (played by John Black ) goes on a new date, the dye is cast – and not in a good way.

IT’S PRETTY clear early on in Natalie Audley’s multi-scene drama that Brett, the American advertising executive is far too career-centred and absorbed with his own greatness to have lasting relationships.

When their first date is at Brett’s very posh Chelsea pad, Adam encounters Henry – Brett’s live-in ex boyfriend. And so the complications start to develop in this taut, dark comedy of gay manners.

Adam, the honest, open, friendly gay boy clashes with Henry , played with all the sarcasm of a jilted lover by Tobias Clay. He is a bitter, sharp adversary and Adam is no match for him.

They argue while Brett, played by Jack Kristianson, is yet again out of the room on a business call, and when Brett returns , the trio turns the living room into a battle ground, with Adam failing to keep the peace between the two exs who release a long held-in anger, guilt and sorrow.

Quite sensibly Adam leaves, but inevitably soon after so does Henry , free of the ties that have bound him for too long to the selfish dependent Brett.

The finale, which comes very abruptly, is a Christmas scene, ending in happiness, which is as predictable as a turkey dinner.

Oh yes, and I forgot to mention, there’s a 4th character – Adam’s sister Lucy, with her new baby, a single mum dumped by her husband in her second trimester. I mention her now because she is entirely redundant as a character, adding nothing to the plot or the development of the play, and purely there to create dialogue with Adam to explain his situation. It would in my mind be stronger if Adam just narrated his situation direct to the audience – no sister necessary.

But ultimately it’s a well observed piece about gay domesticity and the lingering bitterness of failed relationships, tightly directed by Richard Evans-Thomas and  staged by Unmasked Theatre, a company resident at Brighton’s Rialto Theatre.

Cooked runs at the Rialto theatre until June 3.

For more information, click here:

Review by Brian Butler

REVIEW: And the Devil Will Drag You Under @Brighton Spiegeltent

And the Devil Will Drag You Under

By Desmond O’Connor

Brighton Spiegeltent at Brighton Fringe on May 26

THIS is its 10th triumphant year, And the Devil May Drag You Under is still the darling of the Brighton Fringe.  The show’s premise is simple, the host Desmond O’Connor  whose like a foul-mouthed Nicolas Parsons but just as charming, brings together some of the finest and oddest cabaret talent on offer at Brighton Fringe. They give us a taster of their acts then the audience sends them to heaven or hell. It’s all done with the lightest of touches and the devil himself (Desmond O’Connor) and the recently deceased entertainers show you the very vest of what they’ve got.

As always with these shows it’s the combination that works the magic and we certainly had a great range of contrast on show, from Lynn Ruth Miller’s utterly beguiling octogenarian singing to burlesque from Coco Deville.

Leo a lithe bejewelled and be-feathered aerialist span on the silks right above our heads and Bunny, the wicked funny and dangerous stand up knife thrower took audience participation to a very sharp edge.  Opening with some superbly rhymed and timed singing, tortured French chanteuse La Poule won the audience over immediately before we settled down and let the acts do their stuff.

With Frisky & Mannish topping the bill with their delightful clash of pop culture, social commentary, musical and vocal dexterity and five-star charm this was a perfect cabaret evening, in the warm and atmospheric embrace of the Spiegeltent.

This is a piece of classic Brighton Fringe with a host who works hard, and has a flaming saxophone to delight us even more, to ensure an inclusive and attractive atmosphere, you got a lot of bang – bang for your money and long may it last.

For more details, click here:

Festival REVIEW: Gob Squad, Creation @Attenborough Centre for the Creative Arts

Gob Squad Creation (Pictures for Dorian)

At The Attenborough Centre for the Creative Arts

A Brighton Festival event

Taking Wilde’s novel as their starting point, British-German performance group Gob Squad examine the nature of beauty, vanity and morality in their production Creation (Pictures For Dorian). Which was at the Attenborough Centre as part of the Brighton Festival.

God Squad have quite the reputation and this can often hinder a new work, expectations can run high or people can have very set ideas about what to expect. God Squad did their usual thing of using folk from the local area, “home-grown, organic locally sourced talent” as they put it and this added a very personal edge to a show, which although it’s focused on a universal condition was a deeply personal exploration of the ego’s of the three main performers.

It’s a languid piece, deliberately slow, like the process it’s critiquing, age moves with a glacial pace but is relentless, God Squad looked at their own ideas of how they would be when older and also their hopes and fears of how they might age, this is where the local talent came in.

Three very young actors were posed in a variety of heroic poses whilst questions were asked of them, cameras were trained on them, they were framed literally, floral garlands, wraps of silks draped around shoulders, and the camera captured moments of nothing unusual which were then titled and allowed to fade. Meditation is not a means to an end with Gob Squad. It is both the means and the end.

Three much older actors, perhaps with more of their stage time behind them than left were given a closer treatment, talking of loss of function and change of body, status and time. Beauty was looked at again, found again and time moves on.

God Squad are certainly likable, they can be funny and can also touch on the profound. There was much moving around on stage, a touch of chaos and from it came moments of stillness and contemplation there was very little exploration of morality in this piece, Wilde’s play is all about the effects of moral choices on the body, Gob Squad tightened their triangle of gazes on vanity and beauty alone, it left an odd gap, just sitting there, waiting. “Beauty is eternity gazing at itself in a mirror. But you are eternity and you are the mirror. Kahlil Gibran”

There was little from Wilde’s book, alas, an idea, some quotes but that was it, opening with a flourish with some very funny and dry interjections from the deliciously questioning deadpan of Johanna Freiburg whilst they worked on a Japanese ikebana flower arrangements this show’s meditative pace was set from the off.

Little happens, but the drip drip of thought and pose, of counter pose and comparison along with a soft and ironic deconstructive narrative from the artists of both themselves and their process gave the evening a charming thoughtful edge, there are times when it feels more like a lecture than a performance but on reflections, which is what this whole piece is about, the whole of it, in refection, the meditative soft analysis is of what and who defines beauty worked well with the urgent sotto voiced undertow of Dorian himself :

“To live is the rarest thing in the world. Most people exist, that is all. To live is the rarest thing in the world. Most people exist, that is all.”

For full details of this event, click here:

MUSIC REVIEW: What’s on Joyya’s Horizon

A play by play of Joyya’s latest track: Horizon.

FADE IN:
Horizon, by Joyya

THE BACKDROP: London. It’s a dark and melancholic winter night, bleak despair is blanketing the sky in a thick moggy air. Through a nearby window the last stream of light is fighting meekly with the pitch black husk of a sky, gradually losing in it’s weary state. All around, the sounds of synths fill the blackening atmosphere.

Ben Dancer and David Pullen of synthetic pop duo JOYYA walk into the cityscape. A highway of people buzz about them.

David Pullen:

“I know people think I’ve lost my head,” a voice begins to call, immersed in glorious strength, with just a touch of reverb.

(The air is deadly empty, exept for a set of thinning drum beats that spill out from each cheesy vocal note.)

Ben Dancer
“when i moved to the city,” calls the strained voice once more, as a crescendo of mechanical notes come swashbuckling through the city, calling in the heroes to fight off their dark puddle of negativity.

(All of a sudden, every light that is scattered across the city street blows over, bursting into shards of burning keyboard notes. Each piece seems to cling to the ground with a fierce desperation, holding on to the booming sense of bass that tunnels its way under the floor).

(Spacious wavelets of cyber notes and pedantic automated beats emerge from the broken pieces, rising into the sky, and giving way to the push of an optimistic chorus.)

[As it turns out, Ben Dancer and David Pullen of JOYYA have moved from their home town of Northumberland, to London – and they hated it.]

(Bright and Buoyant beats meet skipping notes of synthesised joy, as the radiant chorus streams through the scene. Mere mention of guitar or acoustic instrumentation is swiftly cussed out in this city-scape – everything is electrical and robotic. Electronica is key in creating this euthanasia and over the top hope, in order to mask the underlying pain of leaving home.)

David Pullen
Neon lights beam across the faces of our heroes. “On the Horizon” chant the rose tinted voices, breaking – straining for hope.

(Ultimately, the scene is a looped second of bursting euthanasia and desperate hope, that awkwardly slips into a shallow pit of negativity and slight sadness. The heroes try to keep their melancholy at bay, clutching onto feigned cheer with strained vocals and tripping notes of synthesised optimism. It’s encouraging, catchy, but inescapably cheesy.)

FADE OUT:

the end

PREVIEW: Des O’Connor and Jimmy Tarbuck live in Eastbourne

There are a few tickets available to see two showbiz Legends live in Eastbourne!

TWO stalwarts of the UK entertainment scene return to the live stage and are heading to Eastbourne for one of only ten shows in the UK: Des O’Connor and Jimmy Tarbuck Live at the Devonshire Park Theatre is on Wednesday, June 20.

Seats are currently available in the upper circle, the dress circle and stalls have a limited number of restricted view seats left – for now. The advice from the box office is: book now or miss out!

Theatre Artistic Director, Chris Jordan said: “It’s great that Eastbourne has been included on this very select national tour by these two entertainment legends. Since the show was announced the box office has been busy and we anticipate putting the ‘Sold Out’ boards up on the night. So if you haven’t yet booked your tickets and you want to see these two stars performing live on stage together then don’t put off booking!”

The two legends of television, show-business and numerous Royal Variety Performances come together, accompanied by music and video to reminisce and of course entertain.

In October 2015, Des and Jimmy performed on stage together for the very first time in Sunday Night at the London Palladium to huge acclaim which prompted this limited run.

Singer and comedian Des O’Connor CBE has been an international TV star since the late 1960s, he holds more than 1000 solo performances at the London Palladium, 36 albums and in excess of 16 million records sold around the world!

Jimmy Tarbuck is a variety mega-star, first rising to fame as a host of Sunday Night at the London Palladium in the 1960s, though TV fans will remember his prolific hosting of gameshows and many other television appearances. Jimmy has also released 3 albums himself and has regularly toured the UK throughout his career.


Event: Des O’Connor and Jimmy Tarbuck Live at the Devonshire Park Theatre

Where: Devonshire Park Theatre, Eastbourne

When: Wednesday, June 20

Time: 7.30pm

Cost: Tickets £23.50 – £23.50

To book online, click here:

Or telephone the Box Office: 01323 412000

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