The unmistakable cry of British panto rang through the air at the Malthouse Theatre this week — and what followed was nothing short of a sparkling theatrical treat. Front and centre of this dazzling afternoon was the uber-talented Vicki Michelle.
I joined Dr Anna Kennedy for what promised to be a memorable afternoon — and it delivered in spades.
Just five minutes from Canterbury West station, the Malthouse Theatre is a gem of a venue. Housed in a former 19th-century malt house, it offers a warmth and intimacy that many larger theatres lack. From the moment we took our seats, there was a buzz in the air — the kind that tells you something special is about to unfold.
Anna and I had travelled to see a true British icon — and a good friend of Anna Kennedy Online — in action. While I was there to review the show, Anna had something rather important to ask the star of the performance once the curtain came down.
Let’s be clear: if you think you’re heading to see a “regional” panto, think again. Sleeping Beauty rivals anything currently on offer in the West End — and at a far more affordable price. The cast work tirelessly, delivering an action-packed, high-energy production that never once drops the pace.
There is nothing like a Dame as Joseph Gardner Hodges leads a stellar cast in Sleeing Beauty .
The show really kicks off brilliantly with Tim Edwards, one of the freshest comedy talents I’ve seen in a long while. Playing Jangles — Sleeping Beauty’s equivalent of Buttons — he holds the production together with effortless comic timing, youthful energy, and a commanding stage presence. He is a natural, and the audience instantly warms to him.
Joining him is one of the finest Dames I have ever seen: Joseph Gardiner-Hodges as Nurse Fanny. Hilarious, fearless, and utterly fantastic, Gardiner-Hodges is the yeast in the bread of this show — without him, it simply wouldn’t rise as far. Whether flirting shamelessly with the male members of the audience, delivering razor-sharp one-liners, or fiercely protecting Princess Aurora from the Wicked Queen (or should we say the “socially challenged” queen), he had the audience in stitches. The costume changes alone deserve their own round of applause — though a shoe change for Fanny would have made it an A+.
Then there’s Prince Charming, played by Jordan Calloway. Yes, he’s a good-looking in an Australian soap star way — but more importantly, he can sing. And not just “panto sing” — his voice genuinely stands out, rivalling many performers currently gracing the West End stage.
Just when you think the show can’t possibly get any better, on comes British icon and comedy legend Vicki Michelle as the deliciously evil Carabosse. From the moment she steps on stage, she commands attention. This is stage presence that simply cannot be taught. The former Allo Allo star looks phenomenal and proves exactly why she remains such a treasured figure in British entertainment. (And yes — we absolutely need her back in EastEnders.)
Fabulous costumes as Vicki Michelle captures the audience with her spells.
Her rendition of I Put a Spell on You brought the house down. Despite — or perhaps because of — the enthusiastic boos, Michelle revelled in the “baddie” role, clearly enjoying every moment. Watching an actress with such mastery of her craft is a joy; she knows exactly how to hold an audience in the palm of her hand.
The production values throughout are outstanding. The sets are dazzling, the costumes are richly detailed, and a particularly cute dragon called Caroline steals more than a few scenes. Remarkably, this was the company’s second performance of the day — yet they were as fresh as daisies, delivering with precision, warmth, and infectious enthusiasm.
Next year’s production is Goldilocks and the Three Bears, and on the strength of this alone, I’d say: book now.
After the show, Anna and I surprised Vicki by asking her to become a Patron of Anna Kennedy Online. A long-time friend and supporter of the charity, she was genuinely thrilled to accept. Only weeks earlier, she had joined Anna on GB News to discuss the charity’s work and her ongoing commitment to the autism community.
Dr Anna Kennedy OBE back stage with Vicki Michelle .
Anna summed it up perfectly:
“Vicki is someone who, when she says she will do something, it gets done. She has inspired so many within the autistic community, and we are incredibly proud to have her as a Patron.”
What a day. Huge thanks to the Malthouse Theatre and the wonderful city of Canterbury for such a magical afternoon — proof, if ever it were needed, that great theatre thrives far beyond the West End.
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 — .
On Saturday the 11 October, the spotlight shines on extraordinary talent as Autism’s Got Talent takes centre stage at the Mermaid Theatre in London. Organised by the award-winning charity Anna Kennedy Online, this uplifting and inclusive event brings together over 24 performers from around the world, including the United States, for an evening that promises inspiration, celebration, and unforgettable entertainment.
With doors opening at 6:00 PM and the show starting at 7:00 PM, this year’s event is set to be one of the biggest yet — showcasing not only incredible talent but also the power of inclusion and acceptance.
Dr Anna Kennedy OBE
A Stage That Changes Lives
Unlike traditional talent shows, Autism’s Got Talent isn’t about competition — it’s about celebration. It provides a rare and empowering platform for performers who are autistic or neurodivergent, allowing them to share their unique voices, stories, and creative gifts.
Founded by autism ambassador and campaigner Anna Kennedy OBE, the event was born out of a desire to challenge stereotypes, raise awareness, and offer meaningful opportunities for those often overlooked in mainstream media and entertainment.
“This is not just a show — it’s a movement,” says Anna Kennedy. “Autism’s Got Talent is about breaking down barriers and giving people a chance to shine. Every performer brings something special to the stage, and the audience leaves inspired and moved.”
From singers and dancers to poets, musicians, magicians and comedians, the show highlights the diverse range of talentwithin the autism community. Many of the performers have never had the chance to appear on a professional stage before — making the experience deeply personal and empowering.
Award winning presenter Aston Avery
Star-Studded Presenters & World-Class Venue
Hosting this year’s spectacular event are award wining Gateway DJ, Aston Avery, and youth theatre organiser PhilBarnett , a dynamic trio known for their charisma, warmth, and dedication to the autism community. Their presence helps create a relaxed, friendly atmosphere where performers feel supported and celebrated.
The iconic Mermaid Theatre — a central London venue known for its stunning acoustics and accessibility — is the perfect backdrop for the evening. Its state-of-the-art stage and welcoming environment make it ideal for a show of this scale and heart. Visit: www.the-mermaid.co.uk
What to Expect
With over two dozen acts from across the UK, Europe, and America, audiences can expect an exciting mix of performances filled with energy, passion, and originality. No two acts are alike, and every moment of the show is infused with authenticity and emotion.
The audience is encouraged to cheer, clap, and support every performer — creating an atmosphere of celebration rather than judgment. The focus is on ability, creativity, and joy.
Whether it’s a powerful vocal performance, an emotional poem, a jaw-dropping dance routine, or a surprise act that defies genre, every artist takes the stage with courage and pride.
Anna Kennedy and her dedicated team behind Anna Kennedy on line
More Than Just a Show
Proceeds from the event go directly to Anna Kennedy Online, a UK charity that provides vital support, resources, and advocacy for individuals and families diagnosed by autism. The charity works year-round to raise awareness, run workshops, support networks, and create opportunities like Autism’s Got Talent.
“This event shows what’s possible when we give people the space and support to thrive,” says Anna Kennedy. “It’s about changing perceptions, building confidence, and proving that being different is something to be celebrated.”
In a world where neurodiverse individuals often face barriers to expression, Autism’s Got Talent offers something truly special: a night where every voice matters, every performance is met with applause, and talent is judged not by convention — but by heart.
Whether you’re a long-time supporter of the autism community or simply looking for an evening of uplifting entertainment, this is one event you won’t want to miss.
In particular, Anna Kennedy on Line would like to thank their sponsors Mermaid Theatre, The Harley Street Skin Clinic, Orange Orchid, Talem Law, SEND Tutoring, and SEN Tutoring for their invaluable support. Without you, we simply could not continue to do what we do.
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.
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.
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!”
The Vauxhall Tavern, Thursday 10th August 2023 through to September
5 stars xxxxx
A David Hoyle show is a truly unique experience and it is meant to be. I once described him as Kate Bush’s and Lyndsey Kemp’s love child. His talent is undeniable, and he asks his audience, as he narrates, to think out of the box with him.
As you look around the packed room, it mirrors “Warhol’s Factory. From the lady you feel sure may have been one of Warhol’s prodigy in her hay day with the bright pink hair, Trans adorned Hoyle’s congregations long before it became a topic of conversation. But it is not just the LGBTIQQ community that worship here. Men in suits that look like they have come from the city or just people who love art or good conversation can be found at David Hoyle shows.
” Everyone is beautiful in this room” David assures us all.
The atmosphere is electric before David even enters the room. If people-watching is your thing, part of the experience is to join liked-minded people before the show gets going. The excitement is mounting as a virgin David audience member whispers to me,
“I just love drag”.
“He is not drag”, I replied, well not in the traditional form: you won’t see Hoyle entering “Ru Paul Drag Race” any day soon. Certainly, he appears in tattered stockings and a night dress that had seen better days.
I would love to hear Michelle Visage questioning Hoyle’s sewing skills (I’d pay to witness his reply!).
Hoyle is simply art. You never know which David you’re getting and it reflects how he feels about the state of the world that night. One show he will walk on stage dressed like Frank N Furter meets Bowie’s Space Oddity, oozing glamour. The next show his hair will be in bunches like Violet Elizabeth, his tooth having fallen out, talking about poverty as an artist. Or he walks on with his face bare, a few nights after the Manchester bombing (his now home town), opening his heart to the pain we are all feeling.
He moves amongst us handing out autographed prints of his actual artwork. Hoyle uses his audience as his paint brushes. He asks those at the front why they have taken prime position if they did not want him to point them out.
Hoyle does not take cheap shots at people unlike so many that humiliate audience members. Even when confronted by the more difficult patron. To this day it still makes me chuckle to think about when he asked a slightly drunk man what he did. “I do what you do”, grandly the man replied.
Hoyle retorted, “Really! I had no idea I was generic!”
Hoyle will make fun of himself, asking if anyone fancies a 61-year-old homosexual with a bridge tooth, he chats about the difficulties of dating as an older gay man. David gives sermons on not fitting in the box, or on everyday life as an artist, or those that do not want to conform or those that do. He does not ask you to agree or disagree, but merely to think. This may not sound like a form of entertainment, but it is, and he packs out venues with those wanting to hear him.
Hoyle always finishes off by doing a portrait of an audience member. Again it could be ritual humiliation but instead the chosen one is always made to feel special, but the audience is in hysterics.
David is so very special , and it is a joy to walk away having seen someone so gifted who often bares more than his soul to his audience . Please go see this icon.
This article first appeared three years a go but just as current . The Church of Madonna by Steven Smith.
It’s a warm night in Athens and there is a gentle wind blowing through the Pictures Restaurant, which is lit by candles, making it a perfect atmosphere for dinner.
My weekend hosts have joined me: the divine Atticus (a self-confessed Greek Diva with oodles of style, wit and charm) and his partner Count Alex, a man you can describe in one word, “Class”: this, and he is a walking encyclopaedia. Plus, Adam, my best pal, had jetted in from Asia. He has just started a course on sex addiction to add to his qualification as a counsellor. You can guarantee that tonight is going to be packed with fascinating conversation, debate and humour and (hopefully) good food.
Nonetheless, it is not too long into the conversation before the M word comes up (NO, not monogamy). Madonna.
Madame X
She seems to have a way of popping into so many evenings as a subject in my life, and not just among my male gay friends. I have on occasion wanted to say, “LET’S NOT TALK ABOUT MADONNA” but how can we not, when so many of my friends are devotees of The Church of Madonna?
In fairness, Atticus has just managed to obtain a ticket to see Madonna, or her alter ego Madame X, at the London Palladium next year.
“I want to see the whites of my fans’ eyes and get up close and personal – give them something back,” she explained to presenter Rylan Clark on the BBC’s One Show, as an explanation for her choosing to do a theatre tour.
Atticus is sitting in great Royal Circle seats, but I enquire, “Will she be using binoculars to see the whites of your eyes?” He replies, “BITCH!’
A hint of jealousy on my part? No! To be honest I am thrilled for my friends who have tickets, but a little dig is always camp.
Awkward
The subject stays on Madonna and that rather awkward interview she gave on The Graham Norton Show. Madonna was not the only guest that evening. Director Danny Boyle and actors Lily James and Himesh Patel were also on to chat about their new film, Yesterday. They were on first, and to be truthful I couldn’t wait for them to finish and M to appear. But finally, she appears: the audience goes wild, as do I (though only in my front room).
Host Graham Norton with (seated left to right) Sir Ian McKellen, Madonna, Danny Boyle, Lily James, and Himesh Patel during the filming for the Graham Norton Show at BBC Studioworks 6 Television Centre, Wood Lane, London, UK on June 13, 2019. Photo by Isabel Infantes/PA Wire/ABACAPRESS.COM
But for once Madonna looks a little uncomfortable. Maybe it’s the fact she’s dressed as Madam X, complete with a Betty-Davis-inspired eye patch from the film The Anniversary,making her look like she’s arrived at a fancy-dress party and no one else has bothered to make the effort to get a costume.
She was obviously on to promote her ninth number one US album, Madam X. It is her fourteenth studio album and deservedly also her biggest critical success to date, but you have the feeling she wants to go home and change. This sense is fortified when Graham asks her to take a seat and she seems to have problems sitting down on the couch
“I am not used to sitting with this many people. Is there room?” Madonna asks.
Then there’s a problem with the actual costume. “Someone’s tied my corset too tight, my boobs keep popping up,” Madonna points out as she sits down, pulling her jacket over her breasts.
The interview does not go well, and she actually says, when asked “Do you ever get anxious?”:
“Yes, right now.”
It’s a mile away from the fun she seemed to have with Rylan Clark on the BBC One Show. Madonna seemed to adore him. She managed to cap it all by seemingly insulting our “national treasure”, Sir Ian McKellen, by asking what he did.
Exhibitionism
Though it has been misquoted (she asked what he did on his one-man show), she was vague and rather distant.
“She is an introvert really,” says Atticus, and Adam agrees. They go on to say you can be a performer and still be an introvert.
Yes, I have met many introverts whose drug of choice has been exhibitionism, making them look like extroverts.
Once the mask is dropped for a minute or they’re not comfortable, they can make for awkward conversation, or if in the public eye they can often come over as rude in interviews.
The singer Cher says Madonna is not the best singer or dancer and to quote her, “She has taken straw and spun it into gold”: a little harsh. Marlene Dietrich and Marilyn Monroe, both of whom Madonna takes inspiration from, were not the best singers or dancers but their images captured the time and a nation’s heart.
Madonna is a brilliant creative genius who has captured the moments of many of our lives and mirrored them in her songs and her imagery.
Whilst Cher’s songs are pleasant bubble-gum music (despite dishing Madonna she asked her to write for her), Madonna has something to say to us as quoted in the hit song “Express Yourself”. From “Papa Don’t Preach” (talking about abortion) to the current “God Control” (talking about gun control), Madge has never shied away from preaching to us and we have lapped it up.
Madonna has been in my life since my late teens and I have related to her more than most people, as she seemed to be thinking what I was at the most crucial moments of my adult life.
A stunning Amanda Lear performance at Heaven in the early eighties left me spellbound as she entered the stage in white leather on a chauffeured motorbike. Jumping off, she took off her helmet and let fall her thick blonde hair, shortly to be joined by leather-clad male dancers. It was spectacular.
A year later and someone I had never heard of was on at Heaven. Madonna was billed as a New York club-scene darling. She had two dancers and was cute and wore a hat, but she did not have her act polished and certainly seemed to lack the stage presence of Lear. Still, she had something, and she stuck in my mind.
Not that it really compares but I’d just qualified as a hairdresser and was also finding my way and not quite polished, so I guess when she burst into the charts and I recognised her, there was a feeling of “Well done girl”. And I began, like many, to champion her. There was something that she had that’s important in a star – the public related to her quickly. Girls (and some boys) emulated the look: she could be your friend, lover or sister. She was the naughty girl in class we all secretly admired.
Too often, if someone looks too unattainable or perfect, people shy away from them as idols. The critics favoured Cindy Lauper and mocked Madonna’s early performances as she dropped her tambourine or sang off key. Much as Lauper was fun, it was the Material Girl we all wanted to be with.
Debbie Harry
By 1985, I was a busy hairdresser living in Brighton and a huge fan of Madonna. The number-one hairstyle, due in part to the film Desperately Seeking Susan,was the Madonna look, and my gang saw it several times: the camera just loved her. Apparently, according to the recent Channel 5 documentary, she studied Debbie Harry (Blondie) and the greats Marilyn and Greta Garbo to get that screen look. Those of you who have seen Madonna’s early audition for the movie Fame can see the giant improvement in her technique.
January 1987. I had made it to L.A., California, and my career as a hairdresser had really taken off. People were open and friendly, and it seemed to take only hours before invites to parties arrived, thanks to meeting a man on the plane who lived in Malibu and (to quote him) “knew everyone”.
Madonna’s True Blue album was never off my car radio and Mexican food (something strange in the UK at the time) was fast becoming my favourite.
Having a partner, I stayed away from the Malibu and Laguna beach crowd as I knew it would spell trouble. The mention of a, b, c parties put me off.
We were lucky enough to make friends with a rancher called Very Magnusson, who made us welcome. His ranch grew avocados and he had a sweet, illegal Mexican ranch hand called Ernesto working there and living there. He had a one-room hut covered in Madonna posters. He was full of smiles and hope. I really felt for him, although he spoke no English.
Madonna had released Whose That Girl (the movie and soundtrack) and she was touring. I managed through a friend there to get two tickets, ten rows from the front, to her concert in Anaheim. My partner was not taken with Madonna. So, who to take?
I decided it would be great and a dream to take Ernesto.
Vern seemed shocked. “Are you sure??”
Latino
July 18th. .There I am, all excited with Ernesto for Madonna to come on. But there is a problem: the security has checked Ernesto’s ticket for the sixth time and not mine.
“HE IS WITH ME,” I snap. Some of the people in the row are giving looks too.
I am beginning to realise that there’s a real preconceived attitude towards the Latino community in the US.
This is cemented when the man from Malibu comes running up with two friends. “Honey, how fab to see you, who are you with?”
When I say with Ernesto, they actually back off and can’t wait to get away. (There was even a sneering, “How do you know him?”)
Bigotry or hate I cannot abide. Much as anti-LGBTQ behaviour was a day-to-day issue in my life, a person being treated like this because of their race and class had my blood boiling and it was around about the same time that Madonna started telling us all to love one another.
If she had seen how a young Mexican boy was being treated at her concert, she would have told them to do more than “Open your Heart” – the opening song to her Who’s That Girl concert.
Sadly, Ernesto got involved in a local gang and was found dead two years later.
June 1988, and I was in New York, sitting in the front row of the Royale Theatre, about to see Speed the Plow, a three-handed play starring Madonna. I never asked for the front row, but a PR friend booked the seats and thought it would be great.
I was studying acting at Adam Hill in Los Angeles in my spare time, so I was keen to see her stage work.
Madonna comes on with brunette hair, holding a tray. She is visibly shaking (as the glasses on the tray are moving) and it is not part of the play. She is incredibly attractive in the flesh, close up. Sadly, Madonna is like a first-year drama student doing a monologue full of promise but has not yet refined the craft. The critics were lukewarm at best.
But the play is good and a modern classic.
Still, apart from David Bowie when I was 17, it’s the only time I’ve waited to see a celebrity by the stage door. When Madonna came out, eventually, in a chic Chanel suit, she looked straight down and got into the limo. It did make me feel like a stalker. What was I going to say to her if she had stopped? “Fancy a drink, Madonna?”
Blonde Ambition
Later, on a US television interview, she says, “Why do we always listen to the one critic over those that praise us?” It is so true: ten people can say something nice and the one person who is negative or says something of a passive-aggressive nature, I’ll be thinking about for weeks to come.
I never got to see the Blonde Ambition tour live. Still, we all loved the 1991 film Truth or Dare or, as it was known outside the US, In Bed with Madonna.It’s the one where she apparently outs people and demonstrates with the aid of an Evian bottle how to give oral sex.
Her moving speech at the GLAAD Media Awards in May this year, wearing Elizabeth Emmanuel:
“I had no idea it was going to inspire so many gay men to, A, give blow jobs to Evian bottles, or, B, just have the courage to come out and be free and take a stand and say this is who I am, like it or not.”
Sadly, some of the dancers, in my opinion, betrayed her and once their 15 minutes were up, took her to court, as documented in the film, Strike a Pose.
We have all been there: you help someone and they turn on you. There is no doubt she is a taskmaster and a perfectionist, but what an incredible start for anyone in the business. She taught us to forgive and stuck with the format of hiring new talent.
The 1992 coffee-table book Sex had fans queuing up at book shops around the world. Though she came under fire from critics, many saying her career was over, the silver-foil-covered soft-porn book is still a collector’s item.
Much as fetish clubs in New York and London, such as Torture Garden, were springing up, showing us, “a different way to love”, S&M has been around since the start of time. She opened the way for people, and in particular women, to talk about fantasy sex. Though her song “Hanky Panky” from the Dick Traceymovie soundtrack “Breathless” said she just wanted to be spanked, later she retracted this, saying, “Just try it”.
Your correspondent in shorts with a sign that says SEX on it
She had us all talking about SEX though, encouraging us not to be afraid of our desires. I still have a framed Madonna Sex cardboard cut-out.
“Erotica” was one of the first tracks she performed at her concert The Girlie Show in London in 1993. My best pal Lester Middlehurst from the Daily Mailwas working on the now defunct Today newspaper and he had VIP press tickets for the show. “Darling, you have to fly over for the weekend at least.”
Not to be ungrateful, there I was in the VIP press area in the gods. I was still at the age, I guess, where I liked to see the whites of the eyes of the performers and be with the crowd. Bless my departed friend, I don’t think he even liked Madonna.
I could write for hours about my experiences relating to Madonna. The second part will have to wait till near her concert time.
Madonna the introvert, the exhibitionist, the good Catholic girl at heart, the mother or lover. There is one thing for sure – she keeps one eye well open at all times when it comes to everything she’s doing, and both feet on the ground.
Where other icons have failed and gone to heaven, you just know the material girl will keep Vogueing on ‘til she drops. Or maybe she will surprise us and “Take a Bow” after this tour.
“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.
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.
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.
It was press night and the room was crawling with media moguls like myself who just wanted to have a good time, professionally…maybe.
I made my way up to the theatre to find my seat in the VIP box (a subtle flex). The first thing I noticed was the word QUEENZ bedazzling and glimmering on stage.
It didn’t take long for all of the seats to be occupied, everyone was eager to watch the QUEENZ waltz onto the stage.
They certainly didn’t waltz, they strutted onto the stage with a gracious stride to let us know they’ve arrived in power.
The energy these queens brought to the show with their incredible vocals lifted me to a high vibration state in seconds.
The command they had over the stage reflected the attitude of seasoned drag queens who have been doing it for years.
And these are young queens, who have taken their experience as theatre/broadway artists and poured it into drag to create an astounding form of high art.
Bella DuBall carries the aura of being the mother of the group who draws the audience in with just her eyes. With her golden corset and fiery wig, she had the whole theatre in the palm of her hands and her irresistible gaze.
She was unafraid to show us exactly how limitless her vocal registry was but it was her personality that held me hostage. She was witty, naughty and oozed goddess fantasy.
Speaking of personality, Zeze Van Cartier was a big one with her moustache butch drag realness. Who devoured the stage with her voice and left no crumbs.
Her animated expressions kept me in the loop the entire time. She was the epitome of entertainment throughout the show with her magnificent presence.
She also enlightened us on a little history on drag as an art form and how it’s been around for over 2000 years. Which was quite interesting for me to learn as someone who thought RuPaul Charles was the start of it all.
One of the QUEENZ stole my heart with her vocals in a manner that made me believe she was the Cher or the Celine Dion of drag.
Dior Montay had no business being that extraordinary but I’m not mad about it. And if that wasn’t enough repertoire, she also made us chuckle with some cheeky comedy.
They were all comedy queens with a touch of theatre and exciting themes/concepts of characters for each of the queens.
Billie Eyelash was a fireball on the stage who was the ditsy sultry queen who was fearless and funny and an absolute treat to watch.
She brought a sense of lightheartedness to the show that was a breath of fresh air from all of the intense energy we were adsorbing.
Her comedy was refreshing and her vocals were stunning. And she could definitely be the girl next door you have a laugh and go reckless shopping with. She’s the loveable queen of the lot.
Candy Caned was the silly girl from Essex and the doll of the group. She pranced around the theatre and blessed me with a charming touch on my hand that made me weak in the knees even though I was sat. She slayed the high notes but it was the rap queen in her that made me gag for her more.
However, I was deceived towards the end when she nearly cried from the standing ovation we owed them for putting on an incredible show.
It was in her soft sobs that I realised that this was a team of lovely queens who have worked so hard in the past three years to get to where they are now.
Candy Caned made me see the heart behind the art and the sisterhood amongst them as they held hands to make sure she was okay. The queens then huddled after singing ‘True Colours’ to receive the love they so rightfully deserve.
I would be wrong not to mention Jayce, an icon disguised as a member of the crew backstage. Who surprised us with their hilarious cameos as part of the bit. Death-dropping into our lives with snazzy silver boots and became the 6th member of the QUEENZ without breaking a sweat.
David Michael Productions have outdone themselves by putting on such an exquisite show with a production that was out of this world.
The lighting, the sound, the design and all of the colours on the stage were all extravagant, opulent and beyond extraordinary.
This a show of a lifetime with the perfect group of talented queens who love each other and made us all fall in love with ourselves.
“I am a QUEEN” we all were made to say in unison and for a moment I felt like I was a part of the QUEENZ family. Which was truly a safe place for everyone to feel like they belong, feel loved and inspired.
Th QUEENZ will continue to perform from 11th July-18th August at the Underbelly Boulevard. Treat yourself to this magical show, we at 2Shades vouch for the QUEENZ to spice up your life.
Léa des Garets as George Sand and Iniki Mariano as Marie Dorval in GEORGE at the Omnibus Theatre in Clapham Common till 14th July
In a cozy theatre in Clapham Common, a timeless production awaits you for a thought provoking journey.
GEORGE is a theatrical masterpiece with illusions of drama, emotions and real-time comedy.
GEORGE at the Onmibus Theatre, Clapham Common, London till 14th July
GEORGE is about a revolutionary french author in the 1800s named Amantine Lucile Aurore Dupin, best know for her pen name George Sand. The play uncovers days in the life of George Sand and her friend/lover, Marie Dorval who motivates George to write again. Several male characters intervene their intimate relationship in the form of obstacles, naysayers and well, a snappy editor.
I arrived on time (luckily) to watch GEORGE at the Omnibus Theatre after panicking about getting off at the wrong stop.
I entered a nearly full theatre which made me smile for Léa des Garets, writer of the play and her team for the growth they’ve had since the first time I saw them at the Criterion in November 2023.
I looked around at all the happy faces and envied the glasses of wine dancing on their fingertips. I was too comfortable to get up and I didn’t want to miss a minute of the show. Too late for that but perfectly ready to watch GEORGE again.
An intriguing background score engulfed the theatre, it excited me because I don’t think they had it the first time I watched the play. And there they were, Léa des Garets as George Sand, Iniki Mariano as Marie Dorval and Conor Dumbrell as all of the male characters back to steal my presence for the next 95 mins, I delightfully surrendered.
I felt a rollercoaster of emotions for George Sand. Léa portrays her as an enigmatic character who seems to be on the same planet as us but isn’t. Drawing parallels to relevant issues in our current world from a period play is something I can talk about endlessly if I wanted to but there’s more to it in my eyes.
As an observer I can say Léa, whether she knows it or not, explores complex layers as an actress to show George Sand’s personality in her own genius way. Sand is recognised as an established author in the history books but Léa’s talent truly shines when I saw no replica of research on the stage. Léa found fragments of herself in George, capitalised on them and made it her own.
She made me feel resentment and admiration towards George. Who quite honestly was an obsessive pick-me-up girl, but had an abundance of talent as a writer and was unlucky to be born in an era that was ruled by men.
Léa des Garets as George Sand
Léa breathed life into her stance as an infinite energy that questioned a system that laid limitations on gender, gender roles, sexuality and practical freedom.
I found myself relating to George more as a woman who wore men’s clothing simply because she could. It’s definitely more freeing and cheaper on my skin, I feel more at peace with my body and it helped me redefine comfort as a woman.
If I could have George at my dinner table scenario, I would definitely talk to her about how women wearing men’s clothing, or “looking like a man” doesn’t mean they want to be a man, it’s more fluid and colourful than that. Style has no gender if people realise their eyes can see more than just black and white.
The same goes for Iniki who played the innocent companion/lover, Marie Dovral. I believe George was attracted to Marie’s pure feminine energy that she yearned to have herself. Iniki’s portrayal of Marie made me want to be best friends with her and tell her she deserves better as a girl’s girl. But Marie saw hope in George as the future for women and admired her deeply for that.
However, the complexities of life as a woman at the time held them back from exploring a lifetime of romance together. They reflected the same mission as advocates for women in the generations ahead, but the odds were against them at an age where women’s fingers were metaphorically chopped if they dared to raise a doubt against the system.
Léa and Iniki’s chemistry and purpose on stage weren’t the only bits that drew me in, they had humorous exchanges and physical comedy that made me grunt-laugh. They were just two young girls at the end of the day trying to figure out the meaning of life, we’ve all been there.
When it comes to humour and seamless transitions between characters, I’ve never seen anyone do it like Conor Dumbrell. He played all of the male roles and there were at least five or six of them. That’s a lot!
Léa des Garets and Conor Dumbrell
He truly let his multiple personalities shine, it’s beyond me to even fathom how he pulled off such versatility, like it was no big deal. I had a grin on my face whenever he appeared on stage. I was mystified and hypnotised, he turned out to be the sticky notes on the pages of a book that I will go back to read again and again as the best parts.
There was Q&A session at the end of the show where I heard Rute Costa talk about her vision as a director for GEORGE. She has a very profound way of thinking that proves she was the catalyst that curated such a harmonious team.
A silent leader who tailored the strings of a vintage set, chic wardrobe, intimate lighting and a gripping background score. But more importantly, she is their biggest cheerleader as she watches the play every night like she’s watching it for the first time.
The production team of this play carefully orchestrated every move in a manner that was both melancholic and serene. When you separate each element to bits, you will see the heart in every detail and the genuine love amongst the colleagues.
Lèa des Garets and Conor Dumbrell
Conor surprised me with his humble attitude as he explained what this play means to him, and how unique it feels to him. He wilfully plays the “little man” roles, which is such an interesting parallel to how the world has changed now where men like him no longer find false pleasure in false power.
And Iniki who embodies a very poised and elegant aura spoke of how rewarding it has been to be part of such an essential story. She stitched Marie to my heart is so many ways, her skills as an actress are paving paths that she may not see now, but will see very soon.
After the Q&A session, I hopped down the stairs to go meet Léa who is the loveliest soul I’ve ever met. I also had the pleasure of talking to Conor and members of the production team who radiate such warmth and joy that I just didn’t want to leave.
Unrealistically, I didn’t want the play to end. Realistically, it was a play that left an everlasting impression in my mind. They are an astounding team of time travellers who gently remind us that our souls are timeless, the issues we face are unjust and that art will always be the answer.
They are currently in their last week of shows at the Omnibus theatre in Clapham Common, London.
Here’s a peak at my interview with Léa des Garets who talks about her creative process leading up to the play, her wonder colleagues and her as a incredibly talented artist and human being.
Apparently the ‘theatre press’ whoever that actually is, won’t come out and review a show in a venue basement in Stoke Newington.
Some theatre critics – they obviously don’t know their history and that shows like Angels in America began life virtually in a broom cupboard with a 50-cent plastic shower curtain.
And the US influence is refreshingly present in Queer Brooklyn director Charles Quittner’s breathtaking adrenaline blast of a show, though has nothing in common with America’s obsession with a proscenium arch being the definition of theatre. His staging is literally electric.
It’s in that basement for reason, people. The world its central character Sam (Dan de la Motte) inhabits revolves around frantic urban nightlife spaces, thumping pop candy beats and light shows.
But if The Theatre Critics (“Who are you? We’ve never heard of this ‘Divine’…” had been bothered to lower themselves down those stairs, they might just have got a tour-de-force education in what immersive theatre really means.
White CIS-gender gay man Sam wants to do something about the toxic world we’ve made, especially its dangerous injustices to young Queer and trans people.
Instead he gets a job writing the Substack PR feed for monstrous X-Factor washout Riley Sabanda (but the gays love her, they love her…). And then it’s all urban meedja runaround, A-Gay parties with celebrities (and the gays just love celebrities, they love them…), drugs, sex, more drugs, more sex, knives in any back that’s turned for even a millisecond.
More sex, more drugs and existential, utterly narcissistic angst that’s very, very funny to behold, and becomes so real you quickly start to forget you’re watching a stage show.
Playwright David Levesley knows his subject – he was a journalist and former editor at British GQ. But it takes more than writer’s authenticity to make something like this fly, it takes biting talent.
The script is a genius–level thoughtstream of the identity crisis anyone who’s lived, worked and played in urban jungles like contemporary London will recognize in a drug-accelerated heartbeat. You don’t need to be Queer to get this.
You don’t even need to be young. But you have to be willing to laugh at yourself. This is exactly what might have been born if Mark Ravenhill, Irvine Welsh and Edina Monsoon had got together in a club toilet and said, “Let’s do a play. Oh, g’won, let’s…”
But then there’s the old, old dilemma, the brilliant script, can it ever find the perfect actor who can really bring it to life? They’re Love/Hate relationships, usually more Love than Hate, unless you’re the late Carrie Fisher.
Both need the other to breathe -and really need each other. But the symbiotically perfect actor for that brilliant script did come right along, and his name is Dan de la Motte.
Playing every character, making that aspect a unique joy to watch in a way that so many one-man shows never really reach, it’s an explosive, savagely funny, magnetically attractive performance from an actor who’s clearly realising the height of his powers to hold an audience right in the palm of his hand for the entire show and take them just wherever he wants to.
You can’t take your eyes off him. You won’t want to. And at the curtain, oh, did they love him! When Sam’s pain comes, in amongst the viciously funny takedowns of the worst of what we’ve all become, de la Motte has the perfect beat to deliver a pathos and powerful meaning that takes you completely by surprise.
It ought to be a career making performance – it’s that good.
So it can’t stay in that basement, though probably will lose a little bit of something very precious and unusual when it transfers – this has to go on to another venue.
However, you can still get it in its purest nascent state right there in the bowels of The Divine until July 2. Go for the last Sunday or Monday shows and you might just get to see Riley Sabanda appearing…No promises, mind.
2Shades Magazine 