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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I'm OK you're OK: Death Row Cowboy @CourtyardHoxton
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Death Row Cowboy, which has just finished a short run at the Courtyard Theatre is a gritty and realistic piece of writing that leaves you wondering if it was based on a real life incident. But of course if that were the case there would need to be a different ethnic makeup of the cast, given that the majority of inmates on death row are not white...
But real life is less important than the character study of the three key people in the piece. Carl, who is on death row, prison officer Bobby and a police officer’s widow Hillary. It is written by Andrew Lynch and Mark McCabe who play Carl and Bobby and serves as a vehicle to explore some intriguing themes on relationships, loneliness, love and regret.
The piece opens with 18 year old Carl dialing 911 and calmly telling the operator he has just shot his mother and a police officer. The operator’s motherly reactions reassure Bobby that everything is going to be okay, but five years later he is on death row.
As the execution date draws closer, Hillary reaches out to Bobby, an old school mate and prison officer to seek closure on the death of her husband. As a series of letters are exchanged more questions are raised rather than answered, and the motivations of the three characters are called into question.
The piece works best when the drama is focused on the three leads, with their emotions captured in intricate and realistic detail and wonderful performances (which also manage to provide some very realistic American accents).
Lynch as Carl is at first enigmatic. He plays the role as a man resigned to his fate but when he sees his fellow inmate dragged off to be executed he has second thoughts and sets in motion a series of reactions that lead to the plays dark conclusion. And by this point his character has evolved from the self described naturally evil person we assume he is after the murders.
McCabe as the always upbeat prison warden Bobby is excellent as the clever hero and nice-guy of the piece; always wanting to help out without seeming to have any ulterior motivation for doing so. Rose O’Loughlin is emotionally intense as the very young widow Hillary Reece, who cannot stop questioning the events of five years earlier.
This work was produced in Dublin last year and after a two week run it has had its UK premiere. I suspect this will not be its last...
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.
