LGBT Poet Laureate

The New Diorama Theatre is a small, ultra-modern, glass fronted theatre, close to Warren Street tube, punches way above its weight. Its team, headed by David Byrne, is one of the few theatres that commissions, develops and co-produces meaty ambitious shows that tackle contentious political topics.

After The Act is a lively musical that explores, through historical testimonials and original songs and dance, the period of LGBT+ history from 1967 to 1988. When the Conservative government passed, and implemented, the Section 28 act.

This draconian legislation outlawed the promotion of homosexuality in state run institutions such as libraries and schools, or any kind of acknowledgment that being homosexual was normal.

This is an ensemble piece, with the dynamic cast of four playing many different parts. Its verbatim dialogue expressing the experience of some of the people who actually lived through that period.

There were some wonderful theatrical cameos including Margaret Thatcher in a blue sparkly mini skirt and a teacher living in fear of being outed, plus lesbians abseiling into the House of Lords and angry parents protecting their children from ‘evil homos’. Lesbians storming BBC’s 6 o clock news and a gay teenager confused and terrified about the ‘gay plague.’

These authentic voices from our past were sometimes funny, often heartbreaking. Consistently emotionally engaging.

Throughout the onstage action, images of newspaper and TV headlines are projected onto each side of the stage, illuminating the moral climate of the period.

Frew, the composer and musical director, sits on a raised mezzanine platform conducting the songs and playing instruments. Composing to recitative dialogue is not easy, but the music flowed and enriched the atmosphere, conjuring up that hot clubby feel and the fierce passion of political anthems.

This impressive theatrical experience explores Section 28’s wounding legacy of shame and silence and it celebrates the many acts of heroism. And the determined and tenacious political action that finally forced the act to be revoked.

It’s great to see that agitprop theatre is alive and thriving within a stylish, contemporary venue. It’s also a chilling reminder that we could be revisited by something rather similar even now.

Trudy Howson, LGBT Poet Laureate

March 2022

First performed at the Edinburgh Fringe Festival in 2022, this production of SAP, produced by Atticist and Ellie Keel, is currently touring the UK.

I love the Soho Theatre, the bar is loud, loud, loud and lively. It’s packed with every type of person expressing themselves and having fun. Then you go up to the small upstairs theatre and it’s quiet and cool in there like a hallowed space.

This debut full length play by Rafaella Marcus is an extraordinary piece of writing which stimulates on many levels. Loosely based on Ovid’s Metamorphosis where the nymph Daphne escapes the amorous advances of the god Apollo by turning into a laurel tree. Marcus has brilliantly transformed this ancient myth into a queer urban fable about bisexuality.

The writing of Rafaella Marcus is thrilling. It’s dense and gripping. You can just close your eyes and the drama immediately unfolds in your imagination. It would work wonderfully on radio.

SAP lifts the lid on a contentious issue of bisexuality within the LGBTQ+ community. It illuminates the prejudice, struggles and abuse our much-maligned members often endure.

There are just two actors in this production, although I feel using four would have been better. Jessica Clarke plays a bang up-to-date Daphne with assured confidence. Whilst Rebecca Banatvala plays the other parts, male and female, with particular authenticity and flair.

Together these two spark-off each other on a stage bare of set, filling it with passion, heartbreak and brilliant flashes of humour. They are ably supported by the commanding choreography of Laban trained Jennifer Fletcher and Jessica Lazar’s tight, pacey direction.

Daphne, the central character, is bisexual. She works for a Women’s Aid refuge. We get to know a lot about her, particularly through her personal asides to the audience. She’s likeable, insecure, a people-pleaser. And she notices plants a lot.

Daphne has a one-night stand with a bloke. “He’s just a guy, exactly what you think of, when you think of just a guy.” Afterwards she assumes they will never meet again.

Sometime later, she revisits a lesbian bar and meets “The absolute Queen of my type, soft and hard at the same time, like lipstick on a hammer”. The two become involved and fall in love. Worryingly, Daphne’s new partner expresses an aversion to bisexuals, saying they are untrustworthy and that she doesn’t have sexual relationships with them anymore.

She assumes Daphne feels the same. “Yes, absolutely” Daphne responds, terrified of losing her lover. The seed of that lie is planted in their relationship. It takes root within Daphne.

Shortly after, Daphne is confronted by the shocking realisation that there is a deep connection between her last male and female lovers. The secret liaison between Daphne and the guy is then ruthlessly exploited by him.

Meanwhile the seed of her shame and deception is growing inside of Daphne, it is beginning to sprout bark and branches, and she is unable to stop or control it.

It’s at this point that the atmosphere in the upstairs room at the Soho Theatre dramatically changes and becomes a place of menace and foreboding as the twists and turns of the plot are revealed.

This production is a real thriller, full of suspense and surprises. It also raises many issues that need to be discussed in an open-hearted way within our community. I highly recommend it as an interesting, thought-provoking night out.

Trudy Howson, LGBT Poet Laureate

April 2022

Sylvia was first performed at the Old Vic in 2018 as a work in progress. This current revival, which benefits from diverse casting, is a foot-stamping, rip-roaring, song and dance take on the history of the Suffragette movement.

A musical with a hip-hop, soul and funk bias that explores women’s fight for the vote, might seem an odd combination. But hip-hop has always been employed as an artistic and poetic response to oppression. Funk the voice of revolution. Soul gives the many beautiful voices in this show the opportunity to shine.

Sylvia explores the contentious relationship between Emmeline Pankhurst and her rebellious daughter Sylvia. Cracks in the family political unity are revealed as Sylvia becomes immersed in Labour party socialism and demands votes for all working-class men and women. Whilst her autocratic mother courts the conservative establishment and fears societal backlash from her firebrand daughter.

Slickly directed and brilliantly choreographed by the multi-talented Kate Prince, the music, by Josh Cohen and DJ Walde, and dance routines cleverly reference Eminem, Prince, Aretha Franklin, Janet Jackson and Madonna. The live band are smoking hot! In particular, Rachel Espeute’s (electric bass) and Vanessa Domonique’s (drums) drive the onstage action.

This dynamic musical bounced off the walls of the beautiful Old Vic Theatre, accompanied by much clapping, whoops and cheers from the audience.

Celebrity global songstress Beverley Knight plays Emmeline Pankhurst and her sensational singing voice is goose-bump gold.

Sylvia, played by Sharon Rose, is a real theatrical find. She has a beautifully tuneful voice, and the warmth and authenticity of her characterisation draws the audience close.

Jade Hackett’s portrayal of Winston Churchill’s mum was hilarious. Her solo song and dance moves practically stole the show.

I had some concerns about the wordiness of the script. This is a musical which was initially devised by text and lyrics. Sometimes the dialogue is too intense and rather clunky.

The dramatic impetus of the play was somewhat derailed by Sylvia’s romance with Silvio. Perhaps it would have been better to focus more on the rivalries, romances and ideological differences within the Pankhurst family, of which there were plenty.

Frankly, it was disappointing that Emmeline’s daughter’s lesbian relationship was only briefly referenced as a potential disadvantage to the Suffrage movement, while Emmeline’s own life-enhancing lesbian relationships were not referenced at all. Erasing or negating lesbian herstory is not okay.

As Mathew Warchus, The Old Vic’s artistic director, says
"Musicals aren’t written, they’re re-written.”
This is a musical with huge potential, and I look forward to its next revival.

Even in its current form, the entertainment value of this show, with its fantastic song-and-dance routines, the commitment and energy of its actors, dancers, singers and musicians, make it a great night out.

Trudy Howson, LGBT Poet Laureate

February 2022

The Pleasance Theatre is a six-minute stroll from Caledonian Road Tube. Tucked away in an elegant courtyard strewn with fairy lights. 

It’s a hidden gem. Downstairs is a restaurant with tables outside. Upstairs is the main theatre with the box office and a comfy book-lined bar. It’s a lovely place to hang out and I’ve seen some great, and sometimes magical productions there.

Unfortunately, Kissed By A Flame is not one of them. This two-hander was written by Simon Perrot "as a kind of therapy for myself" and a tribute to his partner Steve who died from cancer. It enacts Perrot’s attempts to recover from his bereavement.

My partner Wendy died from a similar cancer in 1998, so I can really relate to the pain and grief Perrot was and is going through. But I’m not sure that writing a play, in particular this play, works.

The set is rather dull and remains the same throughout. A bedroom, with a bed centre stage and a music system. There, the ghost of Teddy (Andrew Lancel) haunts his grieving lover Jamie (Ian Leer) encouraging him to read the diary he wrote from the time of his diagnosis to his death, eleven years previously. Teddy believes this will help Jamie to finally move on.

On stage, the action switches between the past (Teddy dying), and present, (Jamie’s denial of Teddy dying), although it was often difficult to tell which was which. The direction lacked momentum.

It’s a hard life being an actor. They have to put their trust in the hands of the writer and director of the play. Often that trust is misplaced. I feel in this production, the actors were supported by neither.

The play was too long, running for eighty-five minutes, and without an interval. Forty-five minutes would have more than sufficed. The main problem with this play is that Perrot’s heart wrenching, real life experience just did not translate into the script.

I would recommend a visit to the Pleasance Theatre. Check their website for upcoming productions.

Trudy Howson, LGBT Poet Laureate

February 2022

The musical Tammy Faye is currently premiering at the Almeida Theatre in Islington, and as God is my witness it looks like they have another smash hit on their hands!

This charismatic musical charts the meteoric rise and fall of the Televangelist husband and wife team Tammy Faye and Jim Bakker. Whose 24-hour Satellite TV channel PTL (Praise The Lord) wooed, won over and amassed a fortune from its adoring Christian followers in 1970/80’s America.

Then the dream ended, and Heaven became Hell. Jim Bakker was jailed for misappropriation of funds, tax evasion and sexual exploitation.

Tammy Faye became a Gay icon when, in a ground-breaking interview with an AIDs sufferer, she displayed respect and love. This, during a time when America was in the grip of a puritanical homophobic and misogynistic backlash (what’s changed we might ask?) Gives an indication of her strength of faith and character.

The music by Gay national treasure Elton John, and Lyrics by Jake Shears (Scissor Sisters) does not disappoint. From the first fabulous number we are hooked! The songs span Gospel, Rock n roll, Country and Pop.

With the ensemble cast of dancers and singers (authentically bewigged and costumed by Katrina Lindsay) and radiating 70’s camp energy Lyne Page’s choreography is the perfect accompaniment.

Katie Brayben gives a powerhouse performance as Tammy. Her voice thrilling in its range and expression. She lights up the stage.

Andrew Rannells’s assured and melodic Jim Backer, is the husband who takes all the glory and most of the money, but then pays a great price for his hypocrisy.

Zubin Varla playing Jerry Falwell as the rival evangelical pastor, is perfectly cast as the couples Nemesis, masterful and insidious. Set on course to bring their empire crashing down.

Tammy’s story is told in retrospect. I wasn’t convinced by some aspects of the structure of the play, (particularly the end scene) but Rupert Goold’s stylish direction brought it all together, on a simple but spectacular set designed by Bunny Christie.

It’s an entertaining night out with some great songs, moving moments and hilarious camp asides.

Grab yourself a return ticket from the Almeida or wait until it transfers to the West End. Don’t miss this one, it’s musical gold!

Trudy Howson, LGBT Poet Laureate

October 2022

Tiptoe down the concrete slipway off Southwork Street; loiter outside the forbidding wooden frontage. Knock knock, the doors open… and you step into party time! The Bunker Theatre is bright, its loud, its packed and its friendly.

This Theatre (previously an underground car park) opened almost three and a half years ago, and its ethic To give ambitious artists a home in which to share their work with adventurous audiences is exemplary. It’s so sad, therefore, to hear that it will be closing in March 2020 when its lease runs out.

Ava Wong’s debut play “I will still be whole (when you rip me in half)” explores the relationship between daughter EJ (Aoife Hinds) and her mother Joy (Tuyen Do) who abandoned her 22 years previously.

It plays out as a series of intertwining monologues that reveal the choices both women have made. EJ; Anxious and uncertain about her sexual attraction to women. Joy; who loves running and erasing all traces of her Chinese identity.

The potential of the writing is crystal clear; the dialogue between the two characters is authentic and moving, poetic in places, and effective in revealing their very different characters.

Visually, the production was rather lacking in drama, the staging was dull and rather inert. I found myself closing my eyes and just listening as the play moved towards the meeting between mother and daughter.

Perhaps staging it as a radio play might fulfill its potential?

The programming of The Bunkers final few months, will focus on collaborations with Women and LGBTQ Artists. I recommend a visit whilst you still can!

Trudy Howson, LGBT Poet Laureate

November 2019

I just love the way Opera doesn’t flinch from tackling big philosophical issues. It has the potential to wrench powerful emotions from its audience. Challenge them intellectually. Uplift them spiritually.

It can be the Campest of Camp and yet still wring out a tear! It satisfies on many levels and offers what no other single art form can.

Orphee by Philip Glass is the final offering of the ENO’s (English National Opera’s) bold autumn season of four operas that explore different interpretations of the Myth of Orpheus.

This Opera directed by Netia Jones is a groundbreaker, not least, because of the many talented women featured on the technical team. Lets hope it sets a precedent.

Philip Glass wrote this chamber opera in 1993, inspired by Jean Cocteau’s surreal classic 1950’s film of the same title. In it Cocteau depicts Orpheus as a faded narcissistic poet and examines ‘The Artist’s’ life, its successes, failures and obsessions. The films fantastically interweaved and mirrored subplot explores immortality and betrayal.

Glass uses the text of Cocteau’s film as a libretto for his opera, and footage of the original film is projected throughout, behind the onstage action. This, accompanied by Lizzie Clachan’s mainly monochrome set (occasionally punctuated by dazzling crimson) Daniella Agami’s expressive concise choreography, and Lucy Carter’s subtle, atmospheric lighting, sets the scene for an evening of terror, mystery and pathos.

Orpheus (beautifully sung by Nicholas Lester) is driven by love and regret to cross the threshold of life and death to rescue his long suffering and neglected wife Eurydice (Sarah Tynan) and also pursue his passion for the Princess of Death (a stunning ENO debut for the radiant Jennifer France) Nicky Spence’s wonderful tenor voice soothes and stimulates throughout, as chauffeur and mediator Heurtebise.

The music is sublime. A steady stream of haunting undulating melodies, that ebb and flow in and out of your consciousness as the characters on stage move between the living and the dead. This is music that truly awakens the senses. Go see it!

Trudy Howson, LGBT Poet Laureate

November 2019

What a great little theatre Jermyn Street Theatre is. Tucked away behind Piccadilly Circus…it’s intimate and friendly with cutting edge programming.

Hilda and Virginia are two plays about two very different women, written with a sure hand by accomplished playwright and poet Maureen Duffy.

These monologues explore the life and experiences of Hilda, a sixth century abbess, and Virginia Woolf, writer and founder member of the Bloomsbury set. Hilda and Virginia’s contrasting and fascinating lives are revealed through interesting facts, garlanded with poetic flair.

Monologues are always a challenge for the actor, and although I was not always convinced by her characterization I thought Sarah Crowden had a good stab at it.

Maureen Duffy devotees will not want to miss this literary treat and the Jermyn Street Theatre is definitely one to watch.

Trudy Howson, LGBT Poet Laureate

April 2018

This is a thrilling and very scary production. I loved it! I was literally gripping my seat. I haven’t seen anything so dramatically and musically accomplished for a very long time.

Jack the Ripper: The Women of Whitechapel is part of the ENO’s commitment to supporting new operas and presenting works that appeal to a large and diverse audience. This one is a winner!

The production tackles its horrific subject matter head on. It unflinchingly depicts the pitiful and harrowing lives of the working class, uneducated, women who lived in Whitechapel in 1888. During this period poverty was regarded as a criminal vice, and women as mere chattels.

It charts the bloody reign of Jack the Ripper, focusing on five of his victims. These women were all in their forties, down on their luck and working as prostitutes. It explores the camaraderie that existed between them and the community the Ripper stalked. It goes some way in restoring the humanity and visibility of those women.

Right from the start, Ian Bell’s atmospheric score draws you into the dark labyrinth of the women’s precarious lives, revealing its humour, bravado and brutality. The fluid complexity of Bell’s beautifully executed composition illuminates the individual characters, as well as their interactions. It gave me goose bumps.

Emma Jenkins’ libretto is poignant and heart wrenching. “None but the lonely heart can know my sorrow” – a quote taken from one of the actual victims’ headstone – still haunts me.

The five central characters are beautifully created and sung with vocal dexterity and sincerity. It’s a star-studded cast and not one of the performers disappoints. Including the forty strong chorus.

This is an opera that will appeal to people who usually don’t go to, or like opera. If you’re a fan of drama, suspense, horror and an entertaining night out, don’t miss it. I suggest you take a friend, there will be lots to talk about.

Trudy Howson, LGBT Poet Laureate

April 2019

A Tour de Force, by The Royal Court and the Represent programme. Which commission female orientated artworks exploring issues of democracy, inclusion and equality in contemporary Britain.

This is a show like no other. Crisp and Cathartic. It’s a show where music, dance and spoken word collide.

Right from the start we are physically drawn into the drama by the rhythm of the music, supplied throughout by an on stage DJ.

Poet in da Corner is essentially a coming of age story about Debris, a young, mixed race, Mormon-raised, bisexual. She’s a loner whose trying to find her place at home, at school and in the world.

When Debris hears Dizzie Rascals seminal 2003 Grime Album ”Boy in the Corner” she has an epiphany, which enables her to feel confident about her own authenticity, to establish friendships and explore the potential of her life.

The poetry is fast paced, funny, hard, sometimes heart-rending. Its poetry that sings and dances…powered by the driving rhythm of the music.

I particularly loved the scene where Debris experiences her first girl love. Which was tender, expressive and beautifully choreographed.

The ensemble cast, play a number of parts throughout, with relaxed ease. The choreography, being an integral part of each characterisation.

It wasn’t just on stage that the dancing was happening. I went with Grime Pop Princess Toya Delazy and we, along with the rest of the audience, were dancing in our seats.

Trudy Howson, LGBT Poet Laureate

September 2018

Sprawled underground amongst the subterranean vaults alongside Waterloo Station. The first impression of the Festival does not disappoint.

Nor does the Fever Dream Company whose innovative concept of what and where makes an engaging theatrical experience never ceases to amaze.

I felt genuinely alarmed when we, the six members of the audience were led to the venue for Wrecked…its shocking. There were also quite a few communal sharp intakes of breath during the 45 minutes of the production.

Wrecked is an immersive, in your face, site-specific experience. It explores same sex attraction, compelling love and its consequences on innocent lives.

Sam gives an accomplished performance, revealing how, and with who, she got to this place. I found myself sometimes closing my eyes and just going with the recorded narrative.

Trudy Howson, LGBT Poet Laureate

April 2018

It’s rare to attend an event, which has a feel of the start of something special. Such was the launch of LA Hook Up.

It is a fantastic venue, in the heart of Queeropolis. Hidden plainly in sight, it boasts a large, stylishly understated room with bar. From its beautiful windows the whole length of Old Compton Street can be seen.

There was a real party vibe in the room, with a glass of bubbly on arrival and a shot of tequila included in the £10 admission price. Guests were encouraged to bring their own tipple with mixers supplied for free.

The atmosphere was a winning combination of friendly and flirtatious, with a varied selection of every type, age and race of lesbian. There was music and a bit of dancing. Lots of looking and a bit of romancing! The hosts were helpful and unobtrusive, letting everyone just get on with what they’d come to do…meet new women!

It’s a subtle balance managing a new event in a new venue. This one’s a winner. The organisers plan to host the event bi-monthly. Can’t wait for the next one.

Trudy Howson, LGBT Poet Laureate

April 2018