Theatre: Rookery Nook


First impressions now with Adrian from Melbourne... More later...
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Opera and full frontal nudity: Rigoletto

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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...
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Play ball: Damn Yankees @LandorTheatre

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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.
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Bare emotions: Gods and Monsters @swkplay

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Gods and Monsters , now playing at the Southwark Playhouse is a showcase of incredible performances from its terrific cast and an engaging story. Oh and there is a bit of full frontal nudity too. Based on the novel Father of Frankenstein (which was also the source material for the film of the same name ), the story is a blend of fact and fiction. Age, memory, fame, youth and loss collide in the story of the last few months in the life of English director James Whale. Whale director and creator of the first two Frankenstein films, had a moderately successful career in Hollywood which enabled him to live comfortably in Los Angeles. He was also openly gay. But following a series of strokes in his sixties, he lost his ability to prevent painful memories from his past flooding back. And without giving too much away, his most successful creation, the monster in Frankenstein, seems to become something far more personal.
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