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Riot Women — BBC’s Surprising Triumph of Grit, Wit and Pure Heart

4stars xxxxx

Riot Women — BBC’s Surprising Triumph of Grit, Wit and Pure Heart

There are times when you arrive home after a long day, craving nothing more profound than a cosy half-hour of television fluff — something light, comforting, and easy to disappear into. On the surface, Riot Women looks like exactly that: a vibrant title card, bold artwork, and a show pitched squarely at those who love a dash of spectacle. It would be very easy to hit play expecting a breezy, perhaps even camp, comedy-drama and settle back with a cup of tea.

But Riot Women is not that show. Not remotely.

If you only watch the first ten minutes, you could be forgiven for thinking you’ve been misled. The opening is stark, intense, and packed with enough emotional punch to make even the most resilient viewer mutter, “Oh no… this is going to be depressing,” and reach for the remote.

Yet turning it off would be a terrible mistake.

Because Riot Women quickly reveals itself to be television gold — unexpected, daring, and absolutely bursting with life.

At the centre of this explosive drama-comedy hybrid are the phenomenal Rosalie Craig and Joanna Scanlan, leading an ensemble cast that delivers performances of a calibre you rarely find in mainstream television. Between them, they light up the screen with such power and honesty you can’t look away. Rosalie Craig, especially, is a revelation. Known for her formidable stage presence in musical theatre, she brings the full breadth of her talent to this role: vocally electrifying and dramatically fearless, she swings from raw vulnerability to razor-sharp humour with impossible ease. It’s the kind of performance awards are invented for — at the very least, she deserves a BAFTA nomination.

Joanna Scanlan matches her beat for beat, offering a portrayal that is quietly astonishing — subtle, grounded, and capable of landing an entire emotional narrative with one look. Together, they create a dynamic that makes the story feel not just relevant but necessary.

Of course, no great television series exists without a masterful hand guiding it from the page. Here, that hand belongs to Sally Wainwright, one of Britain’s most exceptional screenwriters. Her voice is unmistakable: sharp, deeply empathetic, and rooted in the lived truths of women who refuse to be sidelined. Wainwright balances humour and heartbreak like a tightrope walker, proving again — as she did with Happy Valley and Last Tango in Halifax — that she knows exactly how to capture complicated, flawed, brilliant female characters. And then there’s Tamsin Greig, whose incomparable screen presence adds yet another layer of brilliance. Whether she’s delivering a deadpan line or revealing quiet vulnerability beneath stoic armour, Greig commands attention every moment she’s on screen. She becomes one of the show’s beating hearts — a character you’re compelled to follow, even in her silences.

What truly distinguishes Riot Women is its emotional honesty. The series dives into the frustrations, absurdities, and injustices faced by women whose lives haven’t gone according to plan — yet it refuses to let despair take the lead. Just when the narrative feels like it’s sinking into darkness, the humour kicks in. And not just comic relief for the sake of it — we’re talking whip-smart, laugh-out-loud writing delivered with perfect timing.

The absurdity is part of the point. Life can be relentless — but it can also be ridiculous.

The tone may zigzag, but that unpredictability is what makes the experience so exhilarating. One moment you’re laughing; the next you’re wiping away tears; then suddenly you’re cheering these women on as they find their voices and reclaim their stories. It’s a celebration of community, resilience, and rebellion — the quiet kind and the loud kind.

Yes, it can be camp — gloriously so — but never cheaply. The humour always comes from a place of truth. And through the satire, the show provides a sharp commentary on how society treats women who dare to age, to feel, to be imperfect, or to speak up.

The writing is confident and bold, unafraid of pushing boundaries. Each episode leaves you with a question — and a burning curiosity for what comes next. It is a story about what happens when ordinary women decide they’re done being polite and invisible. When they realise they have power. When they riot — not violently, but vocally, musically, and emotionally.

To call Riot Women a gem feels too small. It’s a series that arrives disguised as a guilty pleasure but reveals itself to be a gutsy, heartfelt, and beautifully crafted piece of British drama. It’s television that matters — without losing its sense of fun.

So if you begin watching and feel the instinct to switch over: don’t. Give it time. Let it breathe. Stick with the journey.

Because what you find is something rare: a show that reminds you we are all allowed to feel broken — and also allowed to dance, shout, laugh, and reclaim joy, whatever age we are.

Riot Women is bold. It’s brilliant. And it’s absolutely worth your time.

https://www.bbc.co.uk/iplayer/episodes/m002hd7x/riot-women

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Blessings at the Riverside Studios

⭐⭐⭐⭐⭐ Review: Blessings at Riverside Studios https://riversidestudios.co.uk/see-and-do/blessings-177622/

Blessings at Riverside Studios is a richly atmospheric and deeply human exploration of family, faith, and the moral turbulence of the 1960s. Directed with sensitivity and intelligence, the play captures a pivotal moment in British social history — a decade when traditional values clashed with the new freedoms of a changing world. It’s a thoughtful, gripping production brought vividly to life by a stellar cast, led by Gary Webster and an extraordinary debut performance by Freddie Webster.

Freddie Webster.

Set against a backdrop of shifting class structures and cultural awakening, Blessings weaves its story around a working-class family grappling with the personal consequences of societal change. The writing is sharp and heartfelt, with themes of loyalty, pride, and redemption pulsing beneath every exchange. The set design immediately evokes the texture of the 1960s — all formica kitchens, nicotine-stained wallpaper, and muted optimism — drawing the audience into a world both familiar and fading.

Rising Star Freddie Webster

At the centre of it all is Gary Webster, whose commanding presence anchors the production. Best known for his iconic turns in Minder and EastEnders, Webster once again proves he is one of the UK’s most underrated actors. His performance here is layered and magnetic: a man torn between old loyalties and the unrelenting push of modern life. He brings a bruised dignity to the role — a quiet strength mixed with a sense of defeat that feels heartbreakingly authentic. In a just world, this performance would cement his reputation as one of Britain’s finest stage actors.

Underestimated Gary Webster

Equally striking is the breakout performance of Freddie Webster, making his professional stage debut after studying at Mountview Drama School. It’s rare to see such poise, nuance, and emotional truth in a first-timer. Freddie delivers a performance that is at once raw and refined, capturing the restless energy of youth alongside the vulnerability of someone desperate to find their place in a world that doesn’t quite make sense. His natural stage presence and impeccable timing mark him as a talent to watch — a future star in the making. The chemistry between father and son, both on stage and in spirit, is palpable and moving, adding an extra layer of resonance to the drama.

Hannah Traylen, as Frances, deserves special mention. She brings warmth, wit, and quiet steel to a role that could easily have been overshadowed in lesser hands. Traylen’s Frances is a woman of her time but also ahead of it — sharp-tongued yet tender, pragmatic yet passionate. It’s a beautifully judged performance suggesting that Traylen is another rising talent with a bright future

Gary Webster and Hannah Traylen .

The supporting cast contribute solidly, creating a believable ensemble that breathes life into every corner of the story. The pacing of the piece, while deliberate, allows each emotional beat to land fully. If there is a minor quibble, it’s that the play runs a little long without an interval — at times, one finds oneself wishing for a short pause to absorb the emotional intensity before diving back in. Yet, in truth, this is a small price to pay for the richness of the experience. The continuous flow also has its advantages: it keeps the audience immersed, never breaking the spell the actors have so carefully woven.

Technically, Blessings is beautifully realised. Lighting and sound design work in quiet harmony to evoke both nostalgia and unease. The director’s attention to period detail ensures that nothing feels contrived; instead, every moment feels lived-in and real. The dialogue crackles with authenticity, alternating between humour and heartbreak in a way that mirrors real life.

Ultimately, Blessings is a triumph — a play that reminds us why live theatre matters. It challenges, it moves, and it connects. It holds a mirror up to a time not so long ago, showing us how the struggles of the past still echo in the present. Gary Webster delivers a masterclass in restrained power,

The result is an evening of theatre that feels both timeless and immediate — .

https://riversidestudios.co.uk/see-and-do/blessings-177622/

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The Pied Piper of Rock: Matty Healy Leads The 1975 Into Glastonbury History

Matt Healy the 1975 Glastonbury

When you tune in to watch The 1975 perform live, you’re not just listening to a concert—you’re boarding an electrifying emotional rollercoaster. From the first beat to the final bow, Matty Healy doesn’t just sing; he commands, provokes, and enchants. At Glastonbury, he led his band into the annals of festival history with a performance that was nothing short of spellbinding—part protest, part performance art, and all heart.

There’s no doubt that watching The 1975 live is like being caught in a storm of sound and sentiment. Healy, a vocal advocate for mental health awareness, brings his audience on a journey that often feels bipolar in nature—veering from euphoric highs to moments of raw, painful vulnerability. One moment, you’re leaping in unison with thousands, lost in the pulse of a synth-heavy anthem; the next, you’re hushed and still, listening as he declares, “I’m bleeding for you.” Behind him, haunting visuals flash—images of human suffering, environmental destruction, animal cruelty—reminding the audience that this isn’t just music, it’s a call to consciousness.

“It’s not about politics anymore,” Healy said mid-set. “It’s about love. It’s about being kind. Only with that will we ever make a real difference.” It’s these moments of candour that transform his concerts from simple entertainment into deeply moving communal experiences. In an industry where many shy away from difficult truths, Healy walks straight into them, arms wide open.

His onstage persona oscillates between bravado and vulnerability. “I’m the greatest poet,” he quips with a grin—only to retract with a shrug in the next breath, “No, I’m an idiot.” The line between jest and confession blurs. It’s this constant tension—between confidence and self-doubt, performance and honesty—that makes him so captivating. Matty Healy was born for the stage, but it’s his disbelief in his own myth that makes the myth so powerful.

Critics often compare him to rock legends—Jagger, Iggy Pop, maybe even Bowie—but the truth is, Healy defies easy classification. He’s original, carving out a space that feels entirely his own. Perhaps the closest parallel is Marc Bolan, who stunned a generation with “Ride a White Swan,” opening the doors for glam rock and gender fluid performance styles. Bolan didn’t just sing songs—he shaped culture. Healy is doing the same, one provocative, glittering, gut-punch of a show at a time.

Musically, The 1975 occupy a unique space in modern rock. Their sound is a kaleidoscope—one moment polished pop, the next raw post-punk, with forays into jazz, soul, and experimental electronica. Healy’s songwriting is equally diverse. At times playful and catchy, at others profound and searching, he writes like someone trying to make sense of the world in real time. His voice—distinctly androgynous—is now fully formed. It’s a sound that feels both masculine and feminine, emotionally expressive without relying on the grit or aggression often associated with male rock vocalists.

Unlike performers such as Eminem or Macklemore, who often lean on female vocalists to soften or elevate their songs, Healy’s voice stands entirely on its own. There’s no need for a counterbalance. His vocal tone is rich, resonant, and complete. If a perfectly dressed salad needed no extra dressing, then Healy’s voice is that seasoned dish—balanced, flavorful, and satisfying all on its own.

And while Matty Healy is the band’s lightning rod, The 1975 is far more than just one man. The musicianship within the group is extraordinary. Drummer George Daniel is a master of rhythm—an innovator whose work deserves to be ranked alongside legends like Keith Moon and Ginger Baker. His beats are not just background; they are the spine of every song. Then there’s saxophonist John Waugh, whose solos are so expressive and vital that it’s easy to imagine David Bowie himself swooping in to steal him for a side project. Guitarist Adam Hann is no less impressive, crafting intricate textures and soaring riffs that elevate every performance.

1975 Drummer George Danielles a drummer for the hall of fame .

Together, they’re a cohesive force, a band in the truest sense. At Glastonbury, they played not like hired hands or background musicians, but like brothers—a family bound by the music they make. It was Healy, of course, who brought them all together, and it is his vision that they continue to follow. But it’s the synergy of all four that gives the band its power.

The 1975

The Glastonbury crowd, thousands strong, didn’t just watch—they listened. When Healy pleaded with them to “be kind” and to “make a difference,” they responded not with cheers but with thoughtful silence, a stillness that only true impact can elicit. Few performers have that kind of power. It’s the rare ability to hush a festival crowd, not with volume but with vulnerability.

And already, there are imitators—artists scrambling to mimic his stage presence, his fashion, his lyrical style. We won’t name names—let’s be kind, as Healy would urge—but the influence is undeniable. The 1975 are not just leading; they’re redefining the genre.

As the final chords rang out into the Glastonbury night, one thing became clear: this was a moment that would be remembered. The band could have easily played for another hour, and no one would have left. But sometimes, leaving them wanting more is the mark of a true master. And Matty Healy, for all his self-doubt and sarcasm, is exactly that—a master performer, a cultural touchstone, and yes, perhaps the Pied Piper of modern rock.

The world will keep watching. The arenas will fill. And The 1975 will continue to evolve, to provoke, and to inspire. Glastonbury may be behind them, but their story is far from over.

END

Why The 1975 and Matty Healy Support LGBTQ+ Rights and Fund Them

In an era where performative allyship is all too common in pop culture, The 1975 have carved out a reputation for genuine advocacy—particularly when it comes to LGBTQ+ rights. Fronted by the passionate and outspoken Matty Healy, the Manchester-based band not only vocalizes support but backs it with real action and funding.

Healy and his bandmates—George Daniels, Adam Hann, and Ross MacDonald—aren’t just a group with a large LGBTQ+ following; they’ve actively embraced and empowered the community. Their hit “Loving Someone” has become something of a modern gay anthem, resonating deeply with queer fans for its themes of identity, love, and resistance to conformity.

But their commitment goes well beyond lyrics. In a tangible display of support, The 1975 donated £16,000 to help create an LGBTQ+ centre in London—a meaningful contribution aimed at fostering safe spaces and community resources. As Healy himself said, “You might wonder why this is needed and ask what exactly everyone is still scared of, but sadly stigma still exists.” It’s clear he understands the ongoing challenges faced by LGBTQ+ individuals and refuses to remain silent.

Healy’s activism isn’t just about charity—it’s also about calling out injustices. At the BRIT Awards, he used his platform to highlight misogyny in the music industry, quoting journalist Laura Snapes to critique the double standards applied to male and female artists. This kind of intersectional awareness is why his advocacy rings true.

Part of Healy’s inclusive worldview stems from his upbringing. With a gay icon for a mother—actress Denise Welch—and a father known for playing drag characters on TV, he grew up immersed in queer culture. Labels never mattered in his household, and that open-mindedness clearly carries into both his personal life and public platform.

What truly sets The 1975 apart, though, is how authentic and accessible they remain despite global fame. Backstage at a packed O2 concert, Healy was more concerned about making sure a guest had a drink than what he was going to wear on stage. That sincerity, that desire to connect rather than dominate, defines their relationship with fans—especially LGBTQ+ fans who have long searched for artists that don’t just exploit queer culture but stand alongside it.

In short, The 1975 aren’t just the band everyone’s talking about because of their catchy songs or chart success. They matter because they’re using their platform with genuine purpose—offering representation, safe spaces, and support for those who need it most.

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Steven’s Viewz: Four Must-Have New Beauty Products

Having been a creator in the beauty industry before becoming a writer, my eagle eye is always on the latest hot products to keep us looking our very best.

As spring approaches, I thought it was the perfect time to share my top four picks that will bring out the best in you.

1. Enough Wellness Collagen – Created by Women for Women (But Men Can Use It Too!)

“Beauty comes from within.”

Enough Wellness Collagen is a highly effective supplement that combines 10,000mg of two types of high-quality bovine collagen with vitamins C and D to enhance absorption and maximize benefits. This targeted formula nourishes from within, making it an excellent addition to any beauty routine.

Why Collagen Matters

Collagen is a vital structural protein essential for maintaining the health and integrity of our skin, hair, nails, joints, and connective tissues. As we age, collagen production declines, leading to visible signs of aging such as sagging skin, weakened joints, and brittle hair and nails.

Adding a collagen supplement to your daily routine helps replenish these levels, promoting a youthful glow and overall well-being.

Premium-Quality Ingredients

Enough Wellness sources its hydrolyzed Swiss Bovine Collagen Peptides from grass-fed cows in Switzerland, ensuring purity and sustainability.

The formula is free from gluten, GMOs, artificial colors, flavors, fats, sugars, and carbs, providing essential support for:
✔ Radiant skin
✔ Strong hair and nails
✔ Flexible joints
✔ A healthy metabolism

Its neutral taste makes it incredibly versatile—you can add it to smoothies, water, juice, or even use it in baking. We loved it at 2SHADES!

🔗 Check it out here

2 Re[Sens] – A Game Changer for Redness-Prone Skin

It’s not often that I get truly excited about a new skincare range—after all, I’ve seen just about every potion and lotion on the market. But when leading skincare expert Iryna Stewart suggested that my Celtic skin redness could be tamed and calmed, I was all ears.

And she was right. Re[Sens] is a game-changer for those of us prone to redness or flushed-looking skin.

The Philosophy Behind Re[Sens]

Made in Ukraine, this brand is deeply rooted in ancient Ukrainian traditions, bringing them into the modern world through the symbolism of the circle—a concept inspired by Trypillian culture. This symbol represents the eternal cycle of time, regeneration, harmony, and the connection between nature and cosmic rhythms.

But Re[Sens] is more than just skincare. It’s about rethinking beauty—where high-quality, effective products are created with sustainability in mind.

Breaking Down the Name: Re[Sens]

🔹 RE – Represents a moment of rethinking skincare, where both the product and its packaging are designed without harming the planet. The brand emphasizes that the earth needs care just as much as our skin, and failing to consider this leads to a loss for everyone.

🔹 SENS – Derived from “senses” and “sensitivity”, reflecting both the needs of delicate skin and the emotional sensitivity of an individual. Re[Sens] acknowledges that every element of life affects our well-being, offering a 360° approach to skincare.

A New Standard in Beauty: Slow, Thoughtful, and Effective

Re[Sens] embraces the philosophy of Slow Beauty, which is built on the idea that more is not always better. Just as multitasking can lead to burnout, overwhelming the skin with too many ingredients can cause stress and irritation. Instead, Re[Sens] focuses on:

✔ Mindful consumption
✔ Achieving results without compromising skin health
✔ Ethical and sustainable skincare

Rather than overloading the skin, Re[Sens] provides a balanced blend of anti-inflammatory, moisturizing, and soothing ingredients, ensuring effective care without overstimulation.

For those looking to adopt a conscious, holistic approach to skincare—one that nurtures both the skin and the planet—Re[Sens] is a must-try.

🔗 Learn more here 15 percent discount with the code STEVEN2025

Creator of the pillow Tracey Wooley with aesthetic and beauty expert Clare McSweeney

3 The Fresh Face Pillow – The Ultimate Beauty Sleep Essential SS15 will give your audience 15% off

If there’s one beauty product I can’t stop raving about, it’s the Fresh Face Pillow—even Contessa Sharrock loves it! This clinically proven pillow is a game-changer in the fight against sleep-induced wrinkles and creases—something even the best creams can’t fix. And the best part? You only need to buy it once!

What Makes the Fresh Face Pillow So Special?

✔️ Clinically Proven – Backed by science to prevent sleep wrinkles
✔️ Silk Pillowcase – Gentle on skin and hair, reducing dryness, bedhead, and breakage
✔️ Memory Foam with Cooling Gel – Supports neck posture while keeping you cool all night

Why Silk Matters

Silk pillowcases offer more than just luxury—they actively protect your skin and hair. Unlike cotton, silk reduces friction and irritation, helping to prevent wrinkles, dryness, and breakage. It’s also hypoallergenic and temperature-regulating, ensuring a comfortable and restorative sleep.

Your Best Defense Against Aging

Did you know that most aging happens while you sleep? The Fresh Face Pillow is designed to protect your skin overnight, ensuring you wake up looking refreshed and youthful.

If you’re serious about skincare, beauty, and better sleep, this pillow is a must-have!

SS15 will give your audience 15% o

🔗 Get yours here ☁️✨

https://watermanshair.com/products/watermans-mini-massager-care-comb

4 Watermans Red Light Mini Scalp Massager – A Game Changer for Hair Care

At 63 years young, I still get compliments on my hair, thanks to top colorist Heidi Gammon and my barber Mike Edde. While some of my mates are jetting off to Turkey for hair transplants, I have a secret weapon—Watermans shampoo and conditioners.

Now, they’ve introduced something even better—the Red Light Mini Scalp Massager. As someone who already swears by scalp massagers, I can confidently say that this new red light mini comb is an absolute game-changer.

Why You Need the Watermans Red Light Mini Scalp Massager

✔️ Boosts Hair Growth – Uses high-frequency vibrations and red light therapy to rejuvenate the scalp and encourage hair regrowth.
✔️ Enhances Serum & Oil Absorption – Designed to work with Watermans hair oil or serum, ensuring deeper penetration of nutrients for stronger, healthier hair.
✔️ Scientifically Proven – Red light therapy has been shown to combat hair loss and promote thicker, fuller hair.
✔️ Easy to Use – Simply squeeze the side pads to release oil or serum while the massager glides smoothly over the scalp.
✔️ Portable & USB-C Rechargeable – Take it anywhere—ideal for travel or home use.

How to Use for Maximum Hair Growth

1️⃣ Charge the Device – Ensure it’s fully charged for consistent performance.
2️⃣ Load with Oil or Serum – Use Watermans hair oil or serum for maximum benefits.
3️⃣ Activate Oil Release – Gently squeeze the pads to dispense product evenly.
4️⃣ Turn On & Massage – Select your desired setting and let the high-frequency vibrations & infrared light do the work.
5️⃣ Glide Over the Scalp – Use small, circular motions, focusing on thinning areas.
6️⃣ Relax & Enjoy – Feel the soothing effects as it stimulates blood circulation and nourishes the scalp.
7️⃣ Use Regularly – For the best results, use several times a week to see noticeable hair growth improvements.

Final Verdict

If you’re serious about scalp health and hair growth, this powerful yet easy-to-use device is a must-have. With its red light therapy, vibration technology, and precise serum application, it provides professional-level scalp rejuvenationat home. Plus, its compact, rechargeable design makes it perfect for on-the-go use.

💡 Whether you’re looking to prevent hair thinning or simply boost scalp circulation, this is the ultimate tool for vibrant, healthy hair!

🔗 Get yours here. https://watermanshair.com/products/watermans-mini-massager-care-comb

Me with my incredible agent Jane Compton both of us are addicted to Waterman’s ,
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2shades” Smoggie Queens.” Is bullying ever funny ?

Steven Smith takes a look at BBC’s Smoggie Queens . https://www.bbc.co.uk/iplayer/episodes/m0024pgt/smoggie-queens

https://www.bbc.co.uk/iplayer/episodes/m0024pgt/smoggie-queens

There is no doubt that “Smoggie Queens” has moments of comedic brilliance. However, the constant bullying by Dickie (played by Phil Dunning, whose drag persona is Tuna Baguette) of the younger queen Stewart ( Elijah Young ) makes for uncomfortable viewing.at times This theme runs throughout the entire series, becoming repetitive and embodying everything we do not want to see in contemporary LGBTQ+ storytelling or comedy .

https://www.bbc.co.uk/iplayer/episodes/m0024pgt/smoggie-queens

Having been a young teenager treated similarly by an older gay man when I was simply seeking advice and desperate for acceptance, I could relate to the discomfort the series evokes. I recall being humiliated when the most attractive man at the bar approached me at 16, bypassing my own “Dickie.” Outside, I was punched and accused of making myself look cheap—pure jealousy. Sadly, the gay scene isn’t always the “We Are Family” utopia it’s often portrayed to be. Mean queens are a reality, and most cases, they’re not particularly funny.

Dickie, unfortunately, is where the show falters. Phil Dunning, the writer and creator, fails to bring much depth to the character, leaving him unlikeable. As Dickie’s former boyfriend Harrison aptly states, “I have really tried to love you, but you’re selfish, egotistical prick .” This sentiment defines how Dunning plays Dickie throughout the series, both in and out of drag. While Dunning’s screen presence is undeniable, it’s disappointing that he didn’t explore more dimensions of Dickie’s character. Even in the end, when Dickie shows a glimmer of empathy for his victim, it feels like too little, too late.

Dickie (played by Phil Dunning, whose drag persona is Tuna Baguette)

Where “Smoggie Queens” truly shines is in its brilliant supporting cast. Mark Benton as Mam is nothing short of phenomenal. Channeling the charm of greats like the legendary Marc Fleming, Benton delivers an award-worthy performance that leaves you in stitches from the moment Mam appears. While it would have been easy to play Mam solely for laughs, Benson’s portrayal is a masterclass in combining comedy with humanity, making Mam a character you simply can’t get enough of.

Alexandra Mardell as Lucinda, the ultimate “fag hag” on the lookout for love, teams up with Patsy Lowe as Sal to deliver comedy gold. Their beautifully understated performances result in side-splitting humor that elevates the show.

There are some notable guest appearances: RuPaul’s Drag Race star Michelle Visage plays the office spinster (and who doesn’t love her?). Plus, there’s a brilliant cameo by Steph McGovern. Notably, Michael Hodgson’s Nan is both menacing and camp.

While the series does have its merits, it also reinforces certain stereotypes about the LGBTQ+ community. Instead of challenging these clichés or providing fresh perspectives, “Smoggie Queens” sometimes leans into them, which feels like a missed opportunity in an otherwise promising show.

This is a show that will for sure be recommissioned. It is no “Will and Grace ” or “Gimmie, Gimmie . But it does a firm Mark Benton as comic genius and open the gates to a new talent in Elijah Young .

https://www.bbc.co.uk/iplayer/episodes/m0024pgt/smoggie-queens

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2Shades reviews “The Business of Murder ” and get to chat to one of it’s stars Gary Webster

The Business of Murder by Richard Harris at the Theatre at The Tabard
Can a murder play be both funny and tense at the same time? Well, The Business of Murder delivers just that.
https://tabard.org.uk/whats-on/the-business-of-murder/

Set in the 1980s, even the set design conveys that you’re dealing with true professionals, setting the mood even before the show begins. (The Tabard Theatre is wonderfully intimate, though the sight of a modern-day Marlboro Light did make me itch to replace it with a Rothmans.)

The set, designed by Lily Minores and Rob McKinley, effectively transports you to an era when the TV was always on, often showing the horse racing.

Stone (played by Miles Gallant) invites local police detective Hallett (Gary Webster) over to discuss his troublesome son, who is nowhere to be found.

After Hallett leaves, promising to return later, Stone then invites true crime writer Dee (Charlotte Hunter) to meet his wife. Yet the audience knows that Stone’s wife is dead. So why the invitation?

Gary Webster as Hallet.
r Miles Gallant as Stone and Charlotte Hunter as Dee https://tabard.org.uk/whats-on/the-business-of-murder/

You need to let your imagination run wild in the first half and simply enjoy the craft on display—it’s a rare treat to see an actor like Gary Webster perform on such an intimate stage. His portrayal of Hallett blends humor and drama seamlessly, making his character’s self-righteousness both entertaining and believable.

The drama student sitting next to me was in awe, and for good reason. If you’re studying acting, this performance is practically a masterclass. Webster’s ability to deliver witty quips while guiding the audience through the twists and turns is exceptional.

His character is not only charming and funny but also unflinchingly unapologetic, with an underlying ugliness that adds depth.

Gary Webster as Hallet https://tabard.org.uk/whats-on/the-business-of-murder/

Charlotte Hunter (Dee) also brings incredible depth to her character, avoiding the trap of one-dimensionality. Similarly, Miles Gallant delivers a strong performance, holding his own alongside the other two leads.

The only minor flaw in my opinion is the pacing in the second half. While it’s never dull, it does feel longer than necessary, leaving you wishing it would get to the point a little quicker. Even with such talented actors, some trimming would have benefited the production.

Here Steven Smith gets to chat to acting legend Gary Webster.

Tell us about The Business of Murder and why you chose to appear in it.


The Business of Murder is a great whodunnit—or rather, a great whydunnit! It is written by the legendary film, TV, and theatrical writer Richard Harris, so when the chance came along to audition for the role of grizzled cop John Hallett, I jumped at it.

Fortunately, the director liked what I could bring to the role, and I was cast. It’s one of the best roles I’ve ever had the chance to play, and I’m very thankful the show has been such a success.

One of your sons, Freddie, has gone into acting. What advice did you give him?

Enjoy, enjoy, enjoy. Take the work very seriously, but try to keep all the outside noise about what is deemed as success or failure at a distance. In the end, we are here to entertain and, hopefully, in some small way, make people’s lives better. I encourage both my sons to find something in life they love doing, whatever it may be and wherever it may take them.

Would you like to see Minder come back?

It would be great fun to bring it back, with me in more of an Arthur role and a new Minder looking after Ray Daley. There are always rumors that plans are underway because it was, and still is, so loved. However, as with the Shane Richie version, I’m not sure the powers that be would include me in their thinking—which has always seemed a little strange to me—but nothing surprises me in our beloved profession!

You recently judged the Autism Hero Awards. What was that like?

As always, I am honored to be asked, and it is an inspiration to be part of the process. It really brings everything into sharp focus and perspective as to what is truly important in life. It’s lovely to be able, in a very small way, to honor those who do such fantastic and life-changing work.

Gary Webster with fellow judges Samantha Lee Howe 2Shades very own Steven Smith The man of the moment Heartstopper Bradley Richies and Dr Anna Kennedy OBE.

2Shades thinks you should run as an MP. Is that on the horizon?

I’m open to anything at my age! If I could change the country and the world for the better, and the only way to do that was by being an MP, I’d like to think I could give a voice to people who are struggling. Having gone through so much in my own life, I feel I can relate to their fight just to get through the day.

Your look in The Business of Murder is channeling either a ’70s football manager or the quintessential gay clone. We had quite a few gay men message us when your picture went online. Do you think attitudes have changed toward the LGBTQ+ community, and would you like to play a gay role?

I’d certainly like to think attitudes have changed. However, I’m also very aware that the fight for full equality for everyone is still not over. Given recent events in America, with a new administration bringing such archaic views towards the LGBTQ+ community, we must never be complacent. Everyone in the world has the right to identify as they wish and to demand the rights afforded to all without exception.

I can’t believe that in 2024 this is still a battle, but it is, and it will continue until full equality is achieved. I have no problem playing a character who is gay, straight, or bi. In fact, I’ve played characters such as William Tallon in A Princess Undone opposite Stephanie Beacham, where I portrayed the iconic “Backstairs Billy,” who worked for the Queen Mother for many years.

Stephanie Beacham in A princess undone .

A character’s sexuality—whether gay, straight, or bi—is just one aspect of them. In the end, we all experience love, heartbreak, passion, sadness, and joy in the same way. These are universal human experiences, regardless of sexual orientation, and it’s time the world fully recognized that.

What are you and your wife, Wendy, doing for Christmas?

Usually, we’d just stay at home, but as Wendy’s dad is now nearby in London, we’ll be at his flat, cooking a vegan Christmas dinner for us, the boys, and Brian. I adore Christmas—my dad did too. His legacy to me was huge in terms of the joy and magic of Christmas, so it’s a time of year I always try to enjoy. That said, I’m very much aware that, for many, Christmas is a difficult time. My thoughts are always with those who are struggling mentally, physically, or simply trying to find a place to live during this season.

Gary Webster and his wife Wendy Turner Webster .

What would you like for Christmas?

Good health for those I love, the coming together of people around the world to make it a safer place, and 9 points for Arsenal over the Christmas fixtures!

What does 2025 hold for you?

Good health, hopefully, happiness for my sons and wife in all they do, and maybe a lead role in a Marvel TV series. That way, when I’m old and infirm, I can still turn up to Sci-Fi and Comic-Con conferences as my character, earn a ton of money, and have a nice two-day getaway in Vegas—all expenses paid!

2Shades Steven Smith with Gary Webster . https://tabard.ticketsolve.com/ticketbooth/shows/1173651533/events/428615519
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New Book: Samantha Lee Howe’s ‘THE SOUL THIEF’

2shades Steven Smith gets down with award wining author and screen writer Samantha Lee Howe to talk about her latest venture “The Soul Thief”
Pictures by Andy Barnes and Terry Scott

Congratulations on the new book Samantha, tell us a bit about it?

The Soul Thief is a Gothic Thriller about a gentleman detective, Mitchell Bishop, in Victorian Manchester, who begins to investigate a series of bizarre murders. Along with his former fiancée, Laura Carter, Mitchell finds himself in danger and he must look back into his own past in order to inform the present and learn who and what is hurting the people around him. 

I’ve always had a fascination with gothic fiction, particularly the Victorian era, and have found the works of Mary Shelley, Bram Stoker and Sheridan Le Fanu fascinating. The Soul Thief is my tribute to 19th Century gothic fiction, but is written in the style more conducive to the modern reader. Therefore it’s very fast paced, with lots of twists and turns and a surprise ending.

Does writing horror differ from the other genre of books you pen?

Horror has always been a fascination of mine and a natural default to write into. It’s a challenging genre in many ways because you sometimes have to look deep inside yourself to really bring forth an element that scares you. It doesn’t have to be supernatural, after all, real life is full of horrible things that humans do to each other, but supernatural horror is a little less hard to take and also gives you more freedom to explore the genre.

When you’re writing in this genre you have to make many decisions about which way you want to take it and how extreme you want to go. My favourite horror to write is psychological, but I’m not afraid to be visceral if that is needed in the story and not gratuitous.

What really frightens you?

Lots of things frighten me. Enclosed spaces, heights, stalkers, people in general, as they are capable of doing terrible things to each other. One of the things I used to be really scared of was zombies – until I wrote about them a couple of times! As writing is very cathartic, it’s always good to explore the things that do frighten you the most and it takes the sting out of it immediately! 

When were you growing up what horror characters caught your attention?

Growing up I was a huge fan of staying up late with my sister, Adele, watching Hammer movies. We loved the character of Dracula. Christopher Lee was my first introduction to that. I used to lie awake worrying about vampires, but couldn’t stop watching them. When I was 16 I saw my first zombie movie, Zombie Flesh Eaters, and I couldn’t watch another one after that for about 30 years! It terrified me! I even avoided Shaun of the Dead because I just hated zombies. Eventually my husband David talked me into watching the latter film, and it’s now a favourite. But I just can’t revisit Zombie Flesh Eaters!

Films like “Terrifier” are a huge hit in the USA. Do you think slasher films rank as Horror or do they just promote sadism?

All slasher films are horror, but they have varying degrees of psychological basis. Some are described as torture porn – in other words the physical violence meted out to various characters, mainly female, is the whole point of the film – and I’m not into those at all – I don’t really understand why anyone is – but each to their own! What you don’t see can be far more terrifying to the viewer or reader than anything that is presented in graphic detail on screen.

Samatha Lee Howe with 2Shades Steven Smith

The 16 Days of Action Against Domestic Violence campaign starts on November 25th, 2024, which is the International Day for the Elimination of Violence Against Women. You are a survivor ambassador for the Yorkshire charity IDAS. How did you get involved and how do people get help?

A couple of years ago, I reached out to IDAS to see if I could help them because this is a charity very close to my heart. I felt it was important, and the right time, to tell my own story, and I hoped it would help other people. I was not surprised when some of my social media friends contacted me to say they had been victims of domestic violence, what did surprise me was just how many people have had these experiences and still do.

I advised them, as I advise anyone, to reach out and call the local Domestic Violence service near them if they feel they are being abused, manipulated, controlled, or being subjected to any form of physical abuse. Not all abuse is obvious, sometimes abusers use coercive control to cause a great deal of damage to a person’s self-esteem. 

For IDAS, they have a website (https://idas.org.uk/) and contact numbers (North Yorkshire and Barnsley: 03000 110 110 / Sheffield: 0808 808 2241), so please reach out if you need help!

Your screen version of your best-selling book “The Stranger in Our Bed” not only saw you being given countless awards, but was an international hit on the screen. Has life changed for you, and when will your next film be?

My personal life hasn’t changed at all I’m glad to say! I tend to stay very grounded. Professionally, though, the film has opened new doors and given me new and exciting opportunities. I’m currently writing a horror movie for a Hollywood-based producer – but I’m NDA’d so can’t say more than that! I’ve also written the pilot for The House of Killers TV series, which is based on my spy trilogy of the same name, and it’s with a production company. I guess I’m writing much more for screen now than I was.

But it’s a difficult industry with many hurdles, so getting something actually into production is rare. But we keep pitching the ideas, and discussing the options … and there are some smashing people that I’m working with. 

What are you doing for Christmas?

We are having a very quiet Christmas this year at home with my daughter Linzi and our friend, actor, Frazer Hines. But we’ll be partying more at New Year when we have an annual party for some of our family and friends. 

Please tell us about 2025. What plans do you have?

2025 is looking crazy already! I will be writing as always (I have several projects underway and commissioned) but I also have a few public appearances. February will see me presenting a screenwriting workshop in Scotland, March is The SciFi Weekender (a Sci-Fi/Fantasy festival which I help programme and run).

I’m running two film festivals myself (details at http://www.slhfilmfest.com), one in June and the other in October. I’ll be on panels and doing signings at the World Fantasy Convention in Brighton at the end of October … and there are so many other things in between. Busy. Very busy.

Samantha Lee Howe at the Sykehouse film festival with 70s icon Ayshea Brough and award winning actress Nina Wadia https://filmfreeway.com/SykehouseInternationalFilmFestival

Who would you like to play you in the film version of your life?

Scarlett Johansson!! I love her, wish I looked like her – she’s very talented and so beautiful! I’ve never seen a film starring her that I haven’t loved. Same for Anya Taylor-Joy – what a talent!

To pre oder

The Soul Thief

IDAS Charity https://idas.org.uk/

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AUTISM’S GOT TALENT 2024

Celebrating Neurodiversity: Autism’s Got Talent 2024 at the Mermaid Theatre
Steven Smith looks at the hottest show in town.

All Pictures by Terry Scott https://www.facebook.com/terry1965.scott.5836/about
Some of the team behind Autism’s Got Talent https://annakennedyonline.com/autisms-got-talent/

It is my favourite time of year, and the incredible Autism’s Got Talent is back.

Since its inception by Dr. Anna Kennedy OBE in 2012, Autism’s Got Talent has evolved into a legendary showcase that shines a spotlight on the unique talents of individuals living with autism. This one-of-a-kind event has captivated audiences and received high-profile media attention for over a decade, setting itself apart from other talent shows by offering an evening filled with surprises, inspiration, and diverse performances. Hosted at the renowned Mermaid Theatre in Blackfriars, the 2024 edition promises to be another unforgettable celebration of talent and inclusion

Steven Smith chats to 2Shades columnist and founder of Anna Kennedy on line

Unlike conventional talent competitions, Autism’s Got Talent is dedicated to celebrating neurodiversity and empowering autistic individuals of all ages. The show features a star-studded lineup of performers, including singers, dancers, actors, musicians, poets, magicians, and more. These gifted artists not only entertain but also challenge perceptions and break down barriers, demonstrating what people with autism can achieve. This event serves as a platform to replace stereotypes with messages of hope, fun, laughter, and inclusion, making it truly unique on the global stage.

The class of 2024 https://annakennedyonline.com/autisms-got-talent/

This year proved to be a show-stopping extravaganza with over 17 acts.

The show was opened by Dr. Anna Kennedy as she introduced well-wishes from Loose Women star Denise Welch, Blue band icon Anthony Costa, EastEnders actress Kacey Ainsworth, and the legendary Carol Vorderman. Celebrities such as ‘Allo ‘Allo!’s Vicki Michelle, Pet Rescue author Wendy Turner, Taino’s Christopher Hamilton, and performer Tru Blue were among some of the showbiz names that turned out to introduce the evening’s performers.

Allo Allo Vicki Michelle and the inspirational Lisa Allen from Pink Ribbon foundation

Comperes for the evening were Gateway Radio DJ and Ambassador of the charity, Aston Avery, along with former The People’s Strictly contestant and amateur dramatic theatre enthusiast Phillip Barnett.

Christopher Hamilton

Pineapple Dance studio lead by teacher Maggie Paterson who have supported the event from the start team of 40 dancers

Gateways radio DJ Aston Avery one of the presenters of AGT “Autistic and Proud ”

This year’s acts, who travelled from far and wide, did not disappoint. It kicked off with Alba Pulido Brocklebank’s stunning rendition of Burn. There were so many outstanding acts this year, it is hard to highlight them all. From guitar supremo Caydian Evans, who described the experience as an amazing, unique opportunity, to father-and-son team Aaron and Andy Clark, who said, “This is a memory that will last a lifetime, and we are deeply grateful for the opportunity.”

Caydian Evans

Northern Ireland seemed to feature prominently this year with two singers: Andrew McMurdie, who said, “There were so many uniquely talented people in one room, like I have never seen before,” and Ty Williams, who brought the house down.

Andrew McMurdie https://www.facebook.com/andrewmcmurdiemusic

Somerset singer Lianne Vessier was blown away by the diversity of the event, and the standing ovation for her performance left us all in awe.

Lianne Vessier

Stepping in at the last minute was Swaran Hayer, who dazzled the audience with his calendar skills (even revealing Anna Kennedy’s age and date of birth!). His mum, Mandy, said, “It will forever be an unforgettable and memorable experience.”

Theatre group True Colours had the audience cheering as well.

True Colours

Anna Kennedy, founder of Anna Kennedy Online and Autism’s Got Talent, shares her hopes for the event: “We aim to continue to build Autism’s Got Talent year by year. We want all those involved to have fun, do what they love, make friends, be themselves, and have one night that is all about them.” This ethos of inclusion and empowerment continues to drive the event’s growth and inspire its participants.

Tears of joy marked the end of the show, with all the wonderful performers on stage, proud parents, families, and friends in the audience.

They all had one message for the AKO family: “You’re all amazing, and we all rock!”

Roll on Autism’s Got Talent 2025—whoop!!!!!

Applications for 2025 open now https://docs.google.com/forms/d/e/1FAIpQLSc12klHOLoM8I7W8ESPDoWALA0osILmCWlRk8c8BNZkij-N2A/viewform?pli=1

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Every breath you take .


With allegations of sexual abuse against pop stars, actors and high-profile business people at an all-time high, Steven Smith looks back at his own experiences as a 16-year-old on the celebrity party circuit in the late 70s. He asks whether society at the time was just as much to blame for the exploitation of teenagers as those that are having the finger pointed at them.

It’s a Monday morning. I’m at Soho Gym in Covent Garden and I’m working out. My book It Shouldn’t Happen to a Hairdresserhas been out for a month now. It’s my autobiography and follows my journey from coming out at 16 to tending to the hair of the rich and famous around the world. Though now I work mainly in the media, I still keep my scissors handy.

The book has caused quite a stir and there’s been a lot of press. Many are asking who the pop star was that seduced me when I was 16.

Wanna buy it? Link at the bottom of this article.

I decline to answer. It was not something I wanted to talk about further, plus, having worked for the tabloids for over a decade, I knew exactly where that conversation would lead. Having been harmlessly misquoted in some of the papers (one claimed that I hung out with Madonna), I still knew that interviews were a road that needed to be trodden carefully.

My phone goes. It’s a lady agent friend of mine who has been quite supportive in promoting the book.

“Hello darling. I simply couldn’t put the book down, it’s marvellous.”

She goes on to ask how the book is doing and who could imagine how difficult Katie Price could be. We both laugh, but then we get to the reason for the call.

“Darling, who was that awful pop star that seduced an innocent 16-year-old you?”

Innocent! Back in the late 70s, 16 was more like 20. Now, it’s not something that I felt was integral to my life and I won’t be naming him. But it was important to my story in the book. The gist of the call is she thinks that I should chat with one of her clients, a gorgeous police officer called Dan Neal. It could be beneficial to us both – he had read the book and was branching into showbiz.

My agent friend had always been good to me, so I agreed. Almost immediately, Dan called. He was involved with the Jimmy Saville inquiry and was making quite a name for himself (he later went on to marry Rylan Clark). Charming and full of life. He said how much he had enjoyed the book. But then came the cough!

“The pop star who seduced you when you were sixteen, would you name him?”

“No”, I replied quickly.

Dan asked if he could hazard a guess. Judging by the tennis courts in my description, was it —– ? I had heard that they were after this particular person, and funnily enough, I had met him. And a more asexual but charming person you could not want to meet. (Although rumours of his early years hold that he was rampant – but not with young men.)

“No, it was not.”

He went on about his duty to uncover these people.

Cutting Dan off, I pointed out that I was not about to be induced to join a witch hunt. There was a big difference between boys and girls who had been groomed (or been downright taken advantage of) and the youths who attended parties and venues dressed like they were in their twenties, who were desperate to bag a pop star or anyone in the limelight. Back in the 70s, 16-years-olds were very independent, with some passing themselves off as 20-something.

Many of them only seem to have decided they were taken advantage of after the star has died or when they’re in their late 50’s, when many (I’ve found, having done research) have money problems.

In the late 70s no-one asked for ID or carried it. We grew up in an era when, as soon as you could carry a bag of newspapers, you had a job as a paperboy. I was working at ten.

Benny Hill chasing a woman dressed as a schoolgirl around the garden and Barbara Windsor being sexually harassed dressed as a nurse in the “Carry On” films was acceptable in comedy, and for many in the UK (and the US) it still is.

Your correspondent 40 years ago.

When I was 16 the club to go to was BANGS! On Tottenham Court Road on Monday nights, Donna Summer blasted from the speakers and we dressed to impress. We danced on the stage as the beautiful, gay, stylish and soon-to-be famous mingled in an electric atmosphere.

There was a whole group of lads and lasses aged 15-16 who lived for Monday night. It was not unusual to be approached, asked to come to other parties or asked out.

A young air steward invited me to a party one night. It was being held the following Sunday and he said that a car would be sent for me. He wouldn’t tell me whose home it was but said it would be great fun. He was very cute, and Sundays were boring.

I slipped out on the Sunday from my parents’ home and picked up the car at the end of the road, where the steward was waiting with the driver. As we reached the destination, I was stunned by what I saw – it was the most magnificent house, more of a mansion really, with fake butler and maid statues to greet you in the huge entrance hall. It was like nothing I had ever seen before.

We parked the car around the back of the house and went to meet our host on the tennis court. I was shocked when I saw who he was – he had played with one of my favourite bands when I was growing up and here he was, greeting me on his tennis court! He was down to earth and seemed genuinely interested in me. Before long we ended up in his disco, where the cocktails flowed. And so did some other things. Some of the other guests offered me cocaine and laughed when I refused.

Not changed a bit

“Hey, have you brought a good kid to the party?” they asked.

Nevertheless, one too many gin and tonics and as Dorothy Parker said, I ended up under the host. Still, it was a great day, and I went home with my host’s autograph. That was enough excitement for me.

As he brought me home, the steward suggested I might like to meet other friends of his and intimated that it could be quite profitable for me. But I was streetwise beyond my 16 years and said no, thanks.

So, I was somewhat surprised when I received a call from the star’s right-hand man asking me to come down again, which I did. I found myself liking the guy, who even played a song for me on his piano, across from his statues of Snow White and the Seven Dwarfs.

Really, I preferred T-Rex. He sent cars for me several times and we even watched a movie in his cinema room.

He only stopped sending for me after I told him that I’d mentioned the visits to my family. He almost passed out! After all, I was still only 16. This, despite me pointing out that I’d been in the theatre and it wouldn’t seem unusual that I was hanging out with the likes of him.

Still, much as his interest in me waned once he discovered that, he still invited me to the parties. They were great fun and he always got me home safely.

All these years later, though, whenever I smell Opium perfume, I think of him. The fragrance filled the bathrooms in his fabulous house and I even bought some for my mother that Christmas.

One of the most wonderful moments was when a famous pop manager held a boat party along the Thames for his birthday and Freddie Mercury and Kenny Everett were among the many celebrity guests. It was a dream come true and all I did was dance the afternoon away.

I was even hired briefly at the Embassy Club (in shorts).

With no age check.

Other parties were not so innocent. (Let’s not get started on the famous journalist with the three-way mirror whose parties hosted many a squaddie, some of whom went on to appear in the work of Mike Arlen (a gay photographer).

But I was lucky there was always an out. So, I never felt trapped or taken advantage of.

Of course, if I felt like playing victim I could rewrite this story in a different colour.

Many of the boys at the parties have passed on with HIV or disappeared. One or two I still bump into, and they talk of the good old times.

I’m sure that some may have regretted the follies of youth and even feel like they had been taken advantage of. But we can’t just blame the celebrities. The ’70s was a time that allowed freedom for the young and sexually promiscuous behaviour was rife.

Only when my nephew turned 16 I looked at his face. Suddenly it hit me how wrong the pop star and others were .

Luckily, we have ID now and people check. I feel great empathy with those that have been hurt. But regarding those who, in their teens, labelled themselves groupies, only to say many decades later they were victims, responsibility must lie with more than one party.

There is a difference between the casting couch, grooming – and dressing up, passing yourself off as older and consenting to things.

Otherwise, it does turn into a witch hunt.

Steven is a published author, regular radio guest

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2Shades Big Night Out

Some of the team try “The Rising “ SE1 for a night out.
https://www.therisingse1.com

“What, a night out on a Saturday in London? Is that not just for tourists?!” This was my reaction when the 2Shades team suggested we let our hair down and party.

You can only get me out on a Saturday if it is a friend’s birthday, a wedding or some special occasion. The very idea of pushing through the crowds that descend on Soho and the likes fills me with dread.  Favouring house parties or enjoying a few select friends over for dinner would be my choice at the weekend. 

“Do not worry, leave it with me”, said 2Shades writer therapist Michael Power. “I will find somewhere different. Maybe drag brunch or somewhere new”.  Telling him I had nothing to wear elicited the reaction, “Shut up!” 

The 2Shades team at The Rising.

A few days later the 2Shades WhatsApp message with the venue flashed up. “The Rising” SE1. OK, that is Elephant and Castle. Sure, I go to Southwark Play House https://southwarkplayhouse.co.uk and it is not far from the tube. But let me be honest, it is not somewhere where (wrongly or rightly) partying springs to mind.  

However, the web page looked interesting, you’re allowed to bring your dog (so ten points on that!) and they advertise cabaret. Mike rarely gets it wrong, liking to do his homework on everything from holidays to special occasions.

It was the first official 2Shades night out. The Rising is a five-minute walk (even in heels) from Elephant and Castle Tube, or 15 minutes bus ride from Canda Water. The bus stops right across the road by the Express Tesco’s and the Rising is almost opposite on Harper Road.

We should have of checked we where not wearing the same T-Shirts

Upon arrival it was hard to believe my eyes. Not just how stunning Adishiri, 2Shades Queen and Editor, and Mike were looking, but the vibe of The Rising. There was kind of a New York Village, Fort Lauderdale feel to it. Lots of outdoor seating and a friendly atmosphere.

A huge star was the wonderful security guard on hand, George. He is fully trained and unlike many gay venues when you’re greeted by someone who is as cold as the “ice bucket challenge”, George is gay, and blended a warm but no-nonsense approach to taking care of everyone.

@adishrichengappa
@spman631dbbf47d

Despite the football being on (this added a bit of camp to the evening), immediately we started to relax and enjoy ourselves. The bar staff are eclectic and very friendly and provide a great array of wines and beers plus some lethal cocktails and shots. There is no food, but you are welcome to order in or bring your own and they will provide cutlery. 

@adishrichengappa with Ella Gant Drag Royalty

No sooner than the football was over, it seemed half the crowd emptied out. It filled back up over the course of the evening.  Football was replaced by live entertainment in the form of Drag Queen super star Ella Gant. Now Ella is a star performer you would pay to see. The Rising had laid her on for free.

Ella apologised at the start of the show she had not been well; her voice was not at its vocal best. Well, what a show Ella put on! She had us singing and dancing along for over and hour and if that was her voice when she was not at her finest, we all can’t wait to go back and see her full strength as we had an evening to remember

Drag Queen Ella Gant

The Rising might just be the best LGBTQQA bar we have been to in a while; it is really diverse and exciting, and you do not have to fight through the West End to get to it. It is just perfect for a group of friends to enjoy or even go on your own. Please try The Rising and see for yourself.

The Rising.

The Rising https://www.therisingse1.com

98 Harper Road

London

SE1 6AQ

020 3885 0990

hello@TheRisingSE1.com