Featured Post

You can’t stop the boats: Sorry We Didn’t Die At Sea @ParkTheatre

Image
Sorry We Didn’t Die At Sea by Italian playwright Emanuele Aldrovandi and translated by Marco Young, has made a topical return to London at the Park Theatre after playing earlier this summer at the Seven Dials Playhouse. In a week when leaders and leaders in waiting were talking about illegal immigration, it seemed like a topical choice . It also has one hell of an evocative title. The piece opens with Adriano Celantano’s Prisencolinensinainciusol , which sets the scene for what we are about to see. After all, a song about communication barriers seems perfect for a play about people trafficking and illegal immigration. One side doesn’t understand why they happen, and the other still comes regardless of the latest government announcement / slogan .  However, the twist here is that the crossing is undertaken the other way. People are fleeing Europe instead of escaping war or poverty in Africa or the Middle East. It’s set sometime in the not-too-distant future. There is a crisis causing p

Theatre: Parade


Source: www.donmarwarehouse.com

I found myself having a discussion this week with a lady who suggested to me that Parade at the Donmar is the type of music theatre that young men go for. I was thinking about this all last night as I watched this great production. Is there something about (relative) youth that makes one enjoy a music piece about a Jewish factory owner who is accused of raping and murdering a young girl, found guilty and sentenced to death only to have his sentenced commuted but then lynched by an angry mob? Ok so it isn't the happiest night at the theatre but it was so well told, well sung and well staged you didn't mind the lynching and the preaching. You even had to look hard to see the trademark Donmar black brick wall.

Looking around the theatre there was an over-representation of young men there interspersed among the usual Donmar types. The story is based on the true story of Leo Frank and the press frenzy that was whipped up by the case. The show works best when it focusses on the two central characters of Leo and his wife Lucile (played by Bertie Carvel and Lara Pulver). Mind you, there was so much angst, agitation and other odd mannerisms the two expressed throughout the play. Toward the end of the show when the two climb into bed together I couldn't help but think "Eeeeeeeeeewwwwweeewww". It was like watching stick figures on heat and seemed a little forced (and not just because the characters had been apart for a year)...

Anyway, Jason Robert Brown's music is great and Alfred Uhry's book keeps things moving along. So while it is a depressing story, it is still one that is curiously enjoyable. Well if you are a young man perhaps... And it probably helps if you have younger buttocks to withstand those Donmar seats... Act one runs for almost 90 minutes... A cast recording of this production is due out soon and dare I say it is probably worth getting...

Popular posts from this blog

Opera and full frontal nudity: Rigoletto

Image
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
Read more...

Fantasies: Afterglow @Swkplay

Image
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
Read more...

Play ball: Damn Yankees @LandorTheatre

Image
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.
Read more...