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INTERVIEW: Sean Miley Moore creates S.Q.U.A.D. Goals for London Pride

Two queens of the UK cabaret scene, Cazeleon and Gingzilla, join forces with X Factor UK alumni, Seann Miley Moore, to create S.Q.U.A.D. Goals – a dazzling and thought provoking political statement. TIN Nguyen got to chat with them to find out what S.Q.U.A.D. Goals is serving. 

THERE is a unique magic present when several uber talented and passionate creatives come together to create. Even moreso when what they’re creating evokes a sense of purpose, all with a lavish heel. 

TIN: What is S.Q.U.A.D. Goals?

S: S.Q.U.A.D. stands for strong, queer, united, amazing divas and we decided as best friends that we wanted to write a show together. It’s a story about how we all came together to embrace our vibe to find our tribe. It’s a mixture of cabaret, iconic trips throughout herstory – Destiny’s Child, TLC, a cabaret of how we came together as a strong squad. 

TIN: So it’s partly anecdotal as well as a production?

C: It’s the whole shebang! We’re gonna give you theatre, extravaganza, drag culture, original songs, tap! It’s absolutely everything, especially now that it’s the fiftieth anniversary of Stonewall. It’s all about coming together as a community. Especially with today, there’s such a divide in our world. We’re bringing to the forefront community, sisterhood and family and putting it to you in a one hour gorgeous show!

TIN: Exciting! And so how did your team actually meet?

G: We all went to the same theatre school in Western Australian Academy of Performing Arts so the likes of Hugh Jackman and Tim Minchin are some of the alumni. Actually, when Seann was in his first year, Caz was in his third year and when Caz was in his first year, I was in my third year! Basically we all united and met up here [in London]. While Seann was on X Factor, Caz and I were just starting our drag career. Cazeleon and I have been doing so much in the cabaret scene [having] won the Adelaide Fringe Festival Award and the Edinburgh Fringe Festival Award for our own shows. So it seemed like we had to band together, Seann as a musician and Caz and my cabaret, as best friends, to create a show. 

TIN: So how did the idea of the show come about?

S: We’ve done so many pride [festivals] together we were just like why not create a show together!? It was so natural and came easy. We’ve all been hustling and we were like ‘let’s work together’. It’s all about creating and coming together. Especially with the current political climate, it formed naturally because everyone is banding together for strength and unity. 

TIN: What is a highlight of the show?

G: There are a few – I can see two that I love. There’s a moment in the middle where we do a slow nineties RnB jam of the iconic trio that is The Powerpuff Girls which is such a vibe and super fun. And with the fiftieth anniversary of the Stonewall riots, pride is all about loving and being who you are, but it all started about our equality and safety. We all sing a gorgeous trio of Shirley Bassey’s ‘This is My Life’ into Janelle Monae’s ‘Cold War’ alongside images and video clips of our fight as LGBTQ+ people, from where it all started to what is happening today. It’s a beautiful, poignant and touching moment. Caz belts the sh*t out of it! I’m gonna  be crying – I hope I’m wearing waterproof mascara!

TIN: What do you want people who come to your show to take away?

C: Obviously it’s a show and about having fun. But it’s also to educate, to inspire and a safe space for everyone to feel free. It’s like when you’re with your girlfriends, that’s when you can let loose and be you. That’s the idea. It’s the opposite of Mean Girls. We say, there’re no Mean Girls here, everyone can sit with us. It’s a space where you can be yourself and have fun. We’re up there being visibly queer, educating not only the audience but ourselves. It’s all about understanding and respecting everyone and that’s what we deliver as your strong, queer, united, amazing divas, HONEY!

TIN: Brilliant! So where can we see this glamorous show?

S: We’re on for London Pride, July 3, 4 and 5 at the Underbelly Festival.

S.Q.U.A.D. Goals will be showing at the Underbelly Festival on July 3rd-5th.

To book online, click here:

 

 

REVIEW: Kinky Boots the Musical @The Adelphi Theatre, London

It’s completely unsurprising that a musical like Kinky Boots has lasted its three-year run at the Adelphi Theatre in London.

London Company, 2018 – 2019: Photo by Matt Crockett
London Company, 2018 – 2019: Photo by Matt Crockett

WITH music and lyrics by the legend that is Cyndi Lauper, the slightly kitsch aesthetic and old-school sound partner beautifully together into an unexpected story of self-affirmation created from a book by Harvey Fierstein.

It has everything one could ask for in a musical – glamorous and garish highs to sombre lows, all topped off with a cascade of red sequins, memorable melodies, and standout performances.

There is obvious synergy in the cast, especially between Simon-Anthony Rhoden (Lola) and Oliver Tompsett (Charlie Price) who between them create a powerful and contrasting juxtaposition while demonstrating acceptance between cultures.

Highlights include an unapologetic Lola coming out alongside her ‘Angels’ for a fabulous introduction, Natalie McQueen’s (Lauren) hilarious realisation of her feelings for Charlie and a memorable walkup and finale.

A must-see modern take and a feel good spectacle with a dash of glitter on top.

Kinky Boots shows at the Adelphi Theatre until January 12, 2019.

REVIEW: Next Lesson @Above The Stag Theatre in London

It’s not often that a production has a complete cast who shine gloriously, each in their own way, but Chris Woodley’s Next Lesson is an exception.

Directed by Andrew Beckett, the show tackles a topic that could be labeled as overdone and predictable. However, the manner in which the show was executed made for a touching experience in a nostalgic manner.

All bar the talented and beautifully bummed Sam Goodchild playing the core character, the cast do a remarkable job interchanging roles and even more remarkably, outfits.

Although this makes for some difficulty following who is who as each scene changes, it is only a minor detail against the brilliant acting and script. Highly relatable for any gay Londoner who grew up in the late eighties to early nineties, and a swift reality check with how far we have to go as a community. A worthwhile production and big kudos to all!

Next Lesson is playing at Above The Stag Theatre until September 16.

REVIEW: Circolombia @Underbelly Festival, London

This fourteen strong group of Columbian acrobats bring the excitement and flavour of nightlife in Bogota to the South Bank with their spectacular tricks in this fast moving extravaganza of human skill played out to a rap/reggae influenced sound track. It is quite simply breathtaking!

THERE are so many exciting aspects to Circolombia which is headlining at the Underbelly Festival on London’s Southbank that makes this evening out a remarkable experience through and through. There is variety and surprise – all garnished with immense talent and obvious dedication. The show moves seamlessly from one jaw dropping moment to the next, building up to a breathtaking climax as the cast mix song, dance, acrobatics and even romance into an hour of enrapture. It is captivating.

The levels of skill on display make it almost unfair to single out any performance for special mention, however for me highlights included Cristian Rincon and Laura Martinez who perform a duo routine while Rincon is suspended by only the back of his head and Julia Aja, a human pendulum, performs outstanding feats of courage while exhibiting nerves of steel.

You will gasp in awe as these exotic performers take you beyond the conceivable.

Plays at the Underbelly Festival until July 14.

To book tickets, click here:

Review by Tin Nguyen.

Reuben Kay – The Wicked Queen of Oz!

Photograph by Ayesha Hussein
Photograph by Ayesha Hussein

Reuben Kaye sits down with Tin Nguyen to talk about his latest production, what drives him and where he’s come from (hint: it’s down under!).

VIVACIOUS and vivid are two words that come to mind when one thinks of the ever glamorous Reuben Kaye – not to mention he has just won Best Cabaret at Adelaide Fringe 2017 and nominated Best Cabaret in Perth.

Amid a lively and business laden bar, his defiant personality penetrates the noise as he talks of breaking away from the monotony of musical theatre.

GS: How did you end up where you are?

RK: I started cabaret recently and certainly what I originally came to London [from Australia] to do was become a serious actor in the musical theatre. I did that, and it was really constrictive creatively. What I love is bounce, bounce, bounce and that moment of connection but in musical theatre, except on rare occasions, that doesn’t exist. For me, the product I want to give the audience is honest, spontaneous and real. I want the audience to walk away saying “f**k that was great, that was inspiring, that was uplifting”. Said with lightness, after every show, I want to feel changed by the audience or the audience by me.

GS: How long have you been doing what you’re doing now?

RK: I did my first cabaret gig in 2012 in Oxford when I was doing panto. I was at the Oxford Playhouse playing ‘King Rat’ and it was then that I did my very first cabaret show.

GS: As a performer, what makes you unique and memorable?

RK: I do look at myself as a product, but for me, knowing what makes [me] unique and memorable, kills what I’m doing. That’s for the audience to decide, because if they can remember me through a hangover and a come down, then I’m doing my job right! My narrative of being gay bashed and abused [in Australia] to become a fragile and broken book, I don’t think it gives hope to a newer generation of queers who are growing up without this psychosexual trauma of the only narrative they’ve been exposed to is you’ll get beaten up and die of AIDS. I don’t think that’s a narrative that will help any young queen or older queen out there.

GS: So how do you intend to contribute and make a difference to the younger generation?

RK: Through the show, through the celebration of what I do, and the fact that I’m a queen with power. I represent that. There’s emotional vulnerability but it’s not about me being an assistant. I’m not here to do anyone’s hair or makeup. I want to look after our own community – our rates of suicide, drug addiction and teen homelessness are sky rocketing and that’s through a problem with the [inherited] narrative of the LGBT+ communities.

GS: What is a snapshot of the show that is showing at Soho Theatre?

RK: Imagine if you were priority boarding at Dean St Express! That’s a snapshot! Into the class lounge where you get a cocktail, you get a drink, you get a massage, they take your blood and everything’s fine – HEAVEN!

GS: What inspires you?

RK: Jayne County and the Electric Chairs, who were one of the first transgender rockers in the world. Tom of Finland – f**king amazing! Queer artists, queer writers who get out there and do it and own it and don’t apologise. Anyone who does that! It’s 2018, the period of ‘everyone living their truth’ but they’re not, they’re just doing a hash tag on a f**king trend.

GS: So what has inspired this show?

RK: The first Batman film with Michael Keaton and Jack Nicholson – the moment where Jack Nicholson has fallen into a vat of chemicals and he demands a mirror post-operation as he proceeds to historically laugh in joy. Through something super traumatic, he has so much joy  and power, that was my real inspiration for this show. My inspiration point was how sh***y I felt in high school, how I felt like I don’t belong and how I still feel like I don’t belong. But no one belongs in the world, you have to make your own world.

GS: So the show started in Australia?

RK: This was created in London but premiered and developed in Australia. Started in Perth and Adelaide, then Edinburgh and it took off. We got sixth best reviewed show – it went really well!

GS: What is the hardest thing you come up against in the creation of a show?

RK: I’ve had audience members [in Australia] not get it, they’ve loved it but they come up to me and say “you know you’re actually pretty good, but you’re not really gay are you?” (laughs) The physicality of my shows also take a lot and doing the run of Edinburgh was a lot of effort. What this show does to my body is intense and the worst thing is I’m a fan of a party after! The emotional journey, the physical journey – that takes a toll on your body and learning to do what I do on stage and to push myself to a limit, you’ll see it’s a lot of sweat!

GS: So what have you got planned for the future?

RK: I have to go get tested… (laughs) I will keep making work, because I have no choice! I am doing a show at the Roundhouse over summer called ‘Club Swizzle’. I’ll take this show back to Melbourne, my home town which I’ve never played. I want to keep doing what I’m doing because I have an amazing time working with and for brilliant people.

Photograph by Ayesha Hussein
Photograph by Ayesha Hussein

Reuben Kaye plays at the Soho Theatre, London, till Saturday, June 16.

To book tickets online, click here:

He also will appear at Club Swizzle at the Roundhouse in London from July 31 – August 26.

To book tickets online, click here:

REVIEW: The Greatest Love of All @Hammersmith Apollo

There’s not much to say but to offer ecstatic praises for Belinda Davids’ Whitney Houston tribute show so aptly titled The Greatest Love of All.

THIS lavish production boasts many fine details, such as an accurate representation of what the iconic singer was known for – from her stage presence and powerhouse voice to the iconic red high neck dress from Houston’s 1993 Billboard performance of I Have Nothing.

Davids’ vocal ability and agility are a ridiculously unparalleled resemblance of Houston’s trademark sound. One would almost believe that it were actually Houston herself as she gracefully waltzes off stage and into the crowd with her bodyguard.

The Greatest Love of All features every hit a Whitney fan would want to hear, including a breathtaking rendition of One Moment in Time, anthem of the 1988 Summer Olympics in Seoul. An absolutely worthwhile show for any Whitney fan, great or small and one that would surely have made Houston proud.

Reviewed by Tin Nguyen at Hammersmith Apollo in London on April 17.

For future shows, click here:

FILM REVIEW: An American in Paris

An American in Paris seamlessly captures the quintessential cityscape of an olden day Paris as Robert Fairchild (NYC Ballet) graces the stage as Jerry Mulligan. Now a demobbed soldier, Mulligan aspires to be an artist in the French capital. This is one of several storylines that weave into a mildly predictable yet endearing tapestry that is a beautifully entertaining adaptation of the 1950’s Gershwin original.  This spritely musical now takes the form of the big screen, making the experience all the more whimsical.
One feels enrapt in the scenery as each character is played with the kind of humanity that reaches through. Particularly so with the quaint and naive Lise Dassin (Leanne Cope) who’s French accent guises her past. Highly regarded choreographer, Christopher Wheeldon, does a truly magical job combining styles of ballet, contemporary and jazz dance and special mention to the striking vocal prowess of Zoe Rainey playing Milo Davenport.
This modern take of An American in Paris transports you right to the cobblestone laden, starry skied streets of Paris with a pleasant side of post-war romance.

REVIEW: Dead and Breathing @The Albany, London

A somber kaftan laden upper-class cancer patient, Carolyn (Lizan Mitchell), unashamedly bares all as she is bathed by working class (and transsexual) carer, Veronika (Kim Tatum aka Mzz Kimberley).

Chisa Hutchinson and Rebecca Atkinson-Lord’s Dead and Breathing brings two people together – one who has it all with no moral values and one who has nothing but her faith in Christianity – and explores what people are willing to do for what they want. In this case, spread across a lavish boudoir.

Mzz Kimberley is fresh off Transformation Street, an ITV documentary depicting patients going through gender reassignment. Dead and Breathing is certainly the perfect segway from the inspiring series and her ‘reach through to your heart’ kind of authenticity is what makes her character so believable.

This alongside Mitchell’s abrasive demeanour make for a remarkable dance between wrong and right, morals and wants. As Tatum’s character opens up about her struggles as a trans person, she presents a serene Mandella-like protest that defies the need for a ‘normal life’ – with courage and dignity completely intact.

Hutchinson and Atkinson-Lord make for a creatively distinct expression and it shines through in the production’s women-power-esque duo.

Dead and Breathing runs at the The Albany, Douglas Way, London SE8 4AG till March 3.

To book tickets online, click here:

Or call the box office: 020 8692 4446

REVIEW: Jubliee @Lyric, Hammersmith

THIS CAN ONLY BE 1977. …RIGHT?

Chris Goode’s adaptation of Derek Jarman and James Whaley’s Jubilee was a ravenously sex-fueled and unvarnished representation of the state that the world is in.

It assures to have one question if royalty or religion are still relevant in an ever-changing society.

Toyah Willcox goes from rebel to regal as she makes a comeback having played Mad in the original movie and now bringing delightful grace to the stage as Elizabeth I. Unsurprisingly she owns every second of her role as an onlooker from the past.

Jubilee’s blatant dialogue and minimal use of symbolism makes for a refreshing take on what are usually controversial topics. It is explicit beginning to end and makes no apologies for it.

Travis Alabanza does a remarkable job playing Amyl Nitrate, a struggling and shadowed transsexual. Amyl shines as a Monopoly game becomes a gut-wrenching statement about how the trans community is repressed.

Other mentions include Rose Wardlaw as Crabs, token sex fiend and femme fatale, who embodies a naive innocence and hunger that most can relate to.  There is a poetic synergy between all characters without losing each of their own personalities and makes for an exhilarating watch, albeit a shocking reality check.

Jubilee plays at the Lyric Hammersmith till March 10.

To book tickets online, click here:

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