The hunky young chap who provided our removals quote was Loddon born and bred and so we had a long chat about village life. His pearls of wisdom were illuminating. ‘People will stare,’ he said, ‘because you’re new. But don’t be put off. It’s their way.’ He also said we won’t be considered locals for decades. Since we’ve not got that many decades left, I suppose that means we’ll always be the strange gays in the village. That’s fine with me. I’ve always been on the outside looking in.
So far everyone’s been delightful – friendly and helpful – but yes, some do stare a bit, but they smile too. We intend to chuck ourselves into village life. And so when we found out our neighbour’s daughter was in the Loddon Players production of ‘Annie, the Musical’, we thought, let’s give it a whirl. Liam popped down to Funky Feet, the local dance studio, to pick up our tickets. The lady at the desk was very welcoming and talkative. It seems the village drums have been banging all over the parish. As the old saying goes, it’s better to be looked over than overlooked.
As we’re car-less (and hope to remain so), our neighbours kindly gave us a lift to the venue at the local school. Our very own local pub landlord co-directed and played the male lead with a wonderfully theatrical flourish, ably supported by a classy cast. But the really big gong has to go to the kids’ ensemble whose joyful funky feet danced and sang their way across the stage. The talented young lady who played the eponymous redhead has a bright dramatic future ahead.
Our move date from city to country coincided with tickets to see Armistead Maupin’s one-man show at Norwich’s Theatre Royal. Maupin is the author of the Tales of the City series of novels set in San Francisco which chronicle the lives and times of an eclectic group of residents passing through the Barbary Lane boarding house turned apartments owned by Anna Madrigal. We love the books (and subsequent TV serialisations) so it was with heavy hearts we had to give Maupin a miss.
Liam was determined not to miss the next big thing – gay
icon-wise – to come along. And they don’t get bigger than the late, great Judy
Garland. Liam is a BIG fan and was virtually hyperventilating as we took our
seats at Norwich’s Cinema City for ‘Judy’, staring the wonderful Renée
Zellweger in the title role. Liam loves a dead diva.
Covering the brief period when the down-at-heel legend arrives in London in the winter of 1968 to perform a series of last-chance concerts, ‘Judy’ is not exactly a feel-good film. We all know what happens in the end and watching Judy’s descent into drug and drink-fuelled hell makes grim viewing. But the film is strangely compelling and Ms Zellweger is mesmerising – interpreting rather than parodying Judy’s magical stage presence – and all in her own voice. No miming needed. I hear Oscar knocking.
I love the Lion King. I love the original Disney animation. I love the musical. And when I saw the trailer for the ‘photorealistic’ computer-generated remake, the hairs on the back of my neck stood on end. So there was a lot riding on our return to Pride Rock. The film is technically brilliant – a visual masterpiece that dazzles with intricate detail and epic scale. It’s sure to do very well at the box office. But, on the whole, I was left strangely unmoved by the spectacle. The film lacks much of the charm and expressiveness of the ‘hand-drawn’ original. And the re-worked music seemed under-powered, particularly the African chants and rhythms which underscore the story’s very essence. Beyoncé’s breathy rendition of Elton John’s ‘Can You Feel Love Tonight’ was really disappointing. Gifted as she is, the song doesn’t suit Beyoncé’s range and, in my humble view, Elton’s ballads should never be warbled, X Factor-style. But, I guess that’s the modern way and my musical tastes are distinctly old hat.
I was a huge Elton John fan as a teenager. I had all the albums, lots of the singles and a large poster of Elton in over-sized star-shaped glasses on my bedroom wall. So it was with great anticipation that we saw ‘Rocketman’, the new EJ biopic. So what’s it like? Well, in summary, the beginning (child protégé to blossoming musical genius) is heart-wrenching. The middle bit (meteoric rise to global super-stardom and descent into rock star excess) is, well, middling. And the finale (reformed addict to legendary national treasure) is foot-tapping joy. Elton’s no-holes-barred lifestyle and multiple neuroses are laid bare – delivered by ingenious scene-stealing fantasy sequences set to his best-known songs. And, there’s no ‘straight-washing’ either to placate the censors in less enlightened lands. It’s all out there in sequin-studded, piano-beating, coke-snorting, vodka-swilling, bed-hopping glorious Technicolor.
Taron Egerton as the Rocket Man is perfect, capturing, though not caricaturing, Elton’s mannerisms, shyness, petulance, sulkiness and explosive presence – both on and off stage. And his voice ain’t bad either. The film is good, rather than great, entertaining rather than profound. My only real criticism is, while Elton’s pain is front and centre – honestly told – it’s a tad self-absorbed with little insight into the hurt and mayhem caused to others by the swirling emotional tornado that is Elton Hercules John. But, I’m still a fan.
Come Valentine’s Day, romantically-minded Liam likes to put on a show and the show in question was the Calendar Girls musical at the Theatre Royal, Norwich. And what a show it was too. Adapted from the 2003 film, it’s based on the real-life story of a group of middle-aged Yorkshire lasses from the local Women’s Institute who bare all in a naughty calendar. The husband of one of the racy ladies had died from cancer and the modest aim was to raise enough cash to buy a new sofa for the relatives’ room at their local hospital. The plucky troop battled against their own considerable anxieties and stiff resistance from their local chairlady, horrified as she was that the squeaky-clean, jam and Jerusalem reputation of the WI would be badly sullied. Eventually though, the ladies triumphed. The calendar was a runaway international success and it, and the sequels, have so far raised over £2 million for Leukaemia research. And the ladies bought the sofa. I call that a result.
The musical version, with a score by Gary Barlow from Take That, is emotional without being soppy, tuneful, uplifting, joyous and very, very funny. The touring cast of well-knowns and less well-knowns really know how to belt out a song or two. Like us, the audience lapped it up and gave a standing ovation at the end. For some, though, it was all too much. The lady next to Liam sobbed the whole way through. Cancer, as we all know, is a serious business.
For a taste, here’s the trailer (from the West End production)
Christmas comes but once a year, thank the Lord. You can almost taste the stress in the high street from the world-weary shoppers to the fixed-grin workers with tired old tinsel in their hair. I shop early to avoid the hurly-burly. We do, though, always look forward to the John Lewis festive TV ad, and this year’s offering featuring Elton John is a cracker. But then, I’ve always had a soft spot for Captain Fantastic. Predictably, a few scrooges got all bah humbug about the extravagance in these austere times; the moral high ground can be a joyless place. Besides, it’s our job to fix the ills of society, not a shop.
This year, Liam and I are having a quiet one in the microloft. The calorific grub will come courtesy of Mr Marks and Mr Spencer and the quality of the vino will go up a notch or two. Then we’ll drop onto the sofa to foot-tap our way through Mama Mia – Here We Go Again! Out on DVD just in time for Christmas. A perfect day.
Seasons greetings to one and all. Whatever Christmas means to you, may your day be peaceful.
We were planning to see Bohemian Rhapsody, the new Freddie Mercury biopic. But the reviews have been decidedly mixed, despite Rami Malek’s astonishing portrayal as the Queen of Queen. It’s been said that, as producers of the film, the surviving members of the band all come across as a bit too saintly. Of course, they’re not saints. Nobody is. And Freddie’s sexuality has been sanitised, presumably to appeal to the widest international audience possible. Freddie’s excesses are well-documented. His AIDS-related death was awful and, for me, profoundly affecting. I remember it all too well. I once saw Freddie at a gay club back in the day, surrounded by his acolytes. There was nothing ambiguous about Freddie. So we decided to give the film a miss to avoid the disappointment. Instead, we lunched at Bishop’s, one of Norwich best indie restaurants. The meal was courtesy of the staff at the village surgery where Liam earns an honest crust. We’d already had our joint birthday treat at the newly opened Ivy Brasserie. But you can never have too many birthday treats, can you?