Death is something we all will face. After all, nobody gets out of here alive. But how do you get past it when grief is all you can feel? And this is the premise of Tiger, currently playing at Omnibus Theatre . It's a fascinating exploration of the stages of grief. And with a terrific cast to take you on this journey, it's an endearing and sweet story that has you engaged from the start, wondering what will happen next. We are introduced to Alice (Poppy Allen-Quarmby) as she gives a stand-up routine. It's not particularly funny and starts to veer into the topic of dying. Something isn't right. She used to be good at this but can't move forward. Soon, she is back in her London apartment with her partner Oli (Luke Nunn), discussing that they need to get a lodger to make ends meet. Oli is a doctor working night shifts at the local NHS hospital. Alice is not ready to face a return to stand up or anything. So when the first potential lodger arrives (Meg Lewis), looking
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Concert: Ute Lemper
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There are some people I would pay to see even if they sat on stage and read a phone book. Just out of sheer curiosity to see what they would do with it. Ute Lemper is one of those people to me. And when you become a fan, you buy their CDs and you put up with their eccentricities like that last never ending track on the album of Punishing Kiss or all that annoying screeching on the Grapefruit Moon track on Blood and Feathers. On the other hand someone recently told me that they no longer see her shows as "her head is so far up her own arse that it all feels like a bit of an ego trip".
I saw the Ute with Alice at the Shaw Theatre Thursday night and he definitely agreed with that last sentiment. And given the number of people getting up and leaving during the course of the show maybe this wasn't an isolated view. Well the show started late and the seats at the Shaw toward the rear of the theatre resemble QANTAS economy so maybe they just had to get up and have a stretch.
Anyway the late start was attributed to some ticket printing error which issued some tickets with a start time of 8pm rather than 7.30. So to please nobody the theatre started fifteen minutes late and so people kept filing in until after 8pm. This is good enough reason why tickets should never be mailed to people. If you pick them up at the box office you wouldn't have to worry about misprinted start times. But I digress. When it did get going Ute started with a great version of Piaf's Milord which sounded like the version on Blood and Feathers so that was helpful in framing what to expect - German jazz basically. Alice who was not familiar with this Album was none the wiser...
It didn't help that the in-between monologues were written for an American audience as well. Perhaps all that time living in New York has made her not realise that with his limited achievements and general incompetence the world has managed to get around the fact George Bush is still in the White House. In between obscure references to American politics, there were references to yin and yang and the moon and the ocean and the navel and the moon and the yin and the ocean and the moon and so on etcetera. It all became an incoherent blur that you just kept hoping the next song would start.
And some of the songs were great. Highlights included her version of Surabaya Johnny and her performance of a few Jaques Brel songs. When she sings it is an amazing experience. When we get the jazz asides it can be a mixed bag. Then again perhaps given the technical problems with sound, lighting and acknowledged jet lag - the result of flying in late from Greece due to a 24 hour strike - perhaps we weren't seeing the best possible performance.
Leaving the theatre Alice suggested that since he wasn't that fond of Germans or jazz, it was never going to be a memorable night for him. I on the other hand had a great time. It isn't that often you get to see a scary German woman get up and sing and screech and make trouble. And if you are a fan of Ute Lemper that's exactly what you came to see... And you got it. Well maybe a bit more singing next time... Her new album is out from later this month. I'll be getting it too dammit.
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.
