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: FELA!
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Arriving early at the National Theatre to catch a preview of FELA! on Wednesday evening was a good idea. The band was already playing and they sounded so cool. It was such a contrast to the hillbilly rock-a-billy music playing in the theatre foyer, which was being enjoyed by a group of pensioners and a smattering of eccentric dancers who looked as if they were on day release. Who knew that one building could cater to so many tastes? The Olivier Theatre just felt like the place to be. That is no mean feat given the size of the place. Art, graffiti, lights are everywhere and there was the band with its cool beats and sounds...
When FELA! finally gets started, it tells the story of Nigerian musician and political activist Fela Kuti's last night at his Shrine club in the late seventies. Part concert, part dance, part rambling dialogue, and part musical, what is brilliant about this show is its ability to give context to the man and his music. The show weaves in the events that shaped his life and creativity but it is about recreating the experience of seeing the man and experiencing the thrill of his music that is most important. You mostly don't get a biography here, but if you're not familiar with the Afrobeat music he created, by the end of the evening you will be.
When you're not outraged by the injustice, or perplexed by his tight trousers or blue speedos, you will be grooving along.
Sahr Ngaujah, who originated the role on Broadway (and in its earlier incarnations) keeps the show together playing Fela, and understandably shares the role over the season given the demands on the man as the singer, performer, musician and holding everything together. His supporting ladies also provide some amazing vocals.
The first act includes some audience participation that involves "shaking your clock". This is only best attempted if you are part of a large group of people and if you had visited the bar prior to the show. While I was uncertain about a number of elements of the first act, on reflection it was merely foreplay for some incredibly amazing sequences that take place in the second. By the second act the production and performances build at such intensity, that it is at times sensory overload.
Afrobeat surely can no longer be just pigeon-holed as "world music", since it has influenced most major recording artists these days, and so it is about time it had a wider audience. This show is a breathtaking new entry into musical theatre and a long overdue injection of life into the genre. Perhaps even proof that musicals could now even be cool and sexy again...
The show runs through to the new year and will also be part of the National Theatre Live programme on 13 January 2011. Don't miss the experience.
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.
