If The Light House is an uplifting tale of survival, Sarah Richardson’s Sun Bear gives a contrasting take on this. Sarah plays Katy. We’re introduced to Katy as she runs through a list of pet office peeves with her endlessly perky coworkers, particularly about coworkers stealing her pens. It’s a hilarious opening monologue that would have you wishing you had her as a coworker to help relieve you from the boredom of petty office politics. But something is not quite right in the perfect petty office, where people work together well. And that is her. And despite her protesting that she is fine, the pet peeves and the outbursts are becoming more frequent. As the piece progresses, maybe the problem lies in a past relationship, where Katy had to be home by a particular hour, not stay out late with office colleagues and not be drunk enough not to answer his calls. Perhaps the perky office colleagues are trying to help, and perhaps Katy is trying to reach out for help. It has simple staging
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Theatre: Under the Blue Sky
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Tuesday evening I wasn't sure I was in the mood to see a play in the West End, but the West End Whingers had organised a group outing to see Under the Blue Sky ages ago, so there I was. The play had quite a few good things going for it and that was before I even knew what it was about: it had a late start, and it was around 90 minutes without interval. The fact that it had a great cast (including Catherine Tate), was just a bonus.
Sitting so close in the stalls with a raised set, it struck me that we couldn't see the actors below their knees. For the first two acts I became preoccupied by wondering about feet. It probably didn't help that we all knew Catherine Tate had a nasty sprain last week which cancelled the first preview, so we were all wondering how she would fare... The other thing about sitting so close was that throughout the first act there was the lovely smell of onions, peppers and minced beef cooking and wafting into the audience... As the scene ended and the kitchen set moved to one side, a few of us in the audience watched it like hungry dogs until it disappeared. Reality can be so distracting...
As for the play about the six teachers exploring love and lust outside the classroom, I thought it was terrific. Maybe it helps knowing a few teachers as then you realise they are such filthy whores (well the fun ones are anyway) who spend half their year on holidays so it all rings true. It's a fun play and while a bit tragic and creepy at times, it is the perfect sort of show for the summer... If you can get past the absence of feet (assuming you are in the stalls). Oh and in the final act Francesca Annis wears a rather flimsy dress and the lighting creates a rather intimate effect that will have you getting flashback's to Polanski's Macbeth...
I'm sure they are hoping on the Catherine Tate effect to bring in the punters to this show, and she does come up with the goods (of being Catherine Tate), but for me the final scene with Annis and Nigel Lindsay was my favourite and it wrapped things up rather nicely. There is even a bit of Neil Sedaka thrown in too which surely has to be a good thing... It runs through to September.
David McVicar's oddly modern production of Rigoletto is back at the Royal Opera House . This modern and minimalist dark production has evolved over the years. It is better lit now but there is still an orgy and full frontal nudity within the first thirty minutes. This enables anyone not in the stalls an excellent view of a flaccid penis and a nicely shaved bush. But as time goes it seems more and more superfluous to the main focus of this tragedy of a court jester who seeks revenge. Here is hoping that the production continues to evolve... Conductor John Eliot Gardiner keeps the music well paced. Dimitri Platanias in the title role sounded great and received a rapturous applause for his interpretation of the role. You get a sense more of the doting father rather than the court jester or cursed man here. Vittorio Grigolo plays the Duke and sounds too lovely to be the cad the role calls for, but it is hard not to like when he is on stage anyway. And it is easier to understan
Nowadays no self-respecting gay play can be staged without full frontal nudity of some kind. It feels like the default response for the modern gay play now that gay rights are no longer an issue . Afterglow, currently playing at Southwark Playhouse , serves it up in spades. From the beginning, three men are in a bed, naked. There’s what appears to be a very brief exhalation of ecstasy, before the obligatory rush to the shower. But the gratuitous nudity and excellent performances can’t conceal this is a pretty conventional and predictable story about a fantasy couple. The three men in the simultaneous orgasm at the start of the piece are Josh, Alex and Darius. Josh and Alex seem to live in a New York world where they can afford a rooftop apartment in Manhattan while holding jobs as a theatre director and a grad student in chemistry. As writer S. Asher Gelman based it on his own experiences, perhaps gay plays with full frontal nudity are the way to achieve financial security
Damn Yankees at the Landor Theatre is one hell of a fun, sexy show. A great cast of dancers and singers give this show about a man who sells his soul to get on his beloved baseball team (and give them a chance of winning) new legs and balls. It also helps to up the ante with the sexiness with some healthy doses of cleavage and legs (and that's just the men). The musical is a retelling of the Faust story set in the 1950s when the New York Yankees dominated the game.
