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: Caroline Or Change
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I received a bit of flack this week from an anonymous poster connected somehow to the West End production of Cabaret saying I was such a bitch for what I wrote about Cabaret and that I should stick to watching Daddy Cool or some other jukebox musical as that would be all my intelligence could cope with. Those creative types can get so touchy...
Anyway, I had already bought tickets to see Caroline Or Change for Thursday evening so I couldn't take them up on their suggestion. I had been looking forward to this for some time. Listening to the Broadway Cast Recording over the past couple of years it has grown on me to be one of my favourite musicals of recent years. With a book and lyrics by Tony Kushner (who also wrote Angels in America) and music by Jeanine Tesori (who wrote the musicals "Violet" and "Twelfth Night" and the new music for "Thoroughly Modern Millie" when it was adapted for stage) it received raves when it opened and the UK production has similarly received glowing reviews since opening.
Set in Louisiana where "Nothin' ever happens" just after the Kennedy assassination in 1963, it covers a period of small changes and bigger impacts that flow from them. Caroline is a black maid in a Jewish household. Noah, a young boy in that household, keeps leaving small change in his pockets and his step mother wants to teach him a lesson by letting Caroline keep all the change in his pockets. Caroline is a sad and lonely figure, but she escapes into her own world of work as a maid in the basement doing laundry where the washing machine, the radio and the dryer come to life. Her life is the music of the day so the score is peppered with soul, blues and rock and roll music set to the mundane and banal world that she is living in. This a world where money, loss and disappointment in life rule the day. Her daughter and her friend Dotty are moving with the times, but Caroline is resisting everything that is happening around her.
The drama builds to a series of climaxes that culminate in the performance of the above song "Lott's Wife" which has to be the most exciting thing I have seen on stage. Sitting where I was - merely a few metres away from Tonya Pinkins (reprising her role from Broadway and seen in the above clip) - you couldn't help but be blown away. The rest of the cast in this production were equally fabulous, and the singing in this production was particularly good. Pippa Bennett-Warner as Caroline's daughter Emmie was great and I also liked Malinda Parris as the washing machine who gave wet sudsy clothes such sex appeal...
For a musical some serious themes were being dealt with here. Race, poverty, consumerism, grief, anger, loss and disappointment. But at the heart of this show with its focus on two families was a story of hope and optimism. A new direction for an old genre called musical theatre if there ever was one...
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.
