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
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Theatre: Grand Guignol
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On a chilly Tuesday night, I caught a few thrills and chills with Johnnyfox at Theatre of the Damned's Grand Guignol, which is playing at the Etcetera Theatre above the Oxford Arms on Camden High Street. The Grand Guignol was a playhouse in Paris that for 65 years presented a series of grisly melodramas and cruel plays. It sounded like a smashing place but nowadays it is a term that is more generally used to refer to any sort of horror play. Cheap thrills aren't always easy to find at the theatre nowadays. The Southwark Playhouse does a good job with its Terror season, but it is nice to see there is also a production company dedicated to scaring the pants off audiences.
Presented here are three very fine plays that will alternatively make you jump or make you queasy. Given that, it is probably a good idea to go to the bathroom before it starts as if you wet yourself during the performance, there is no intermission.
The first play, Crime in a Madhouse, a young woman in an insane asylum is taunted by two women who want to get her. The thrills and shocks were somewhat dissipated when Johnnyfox suggested one of the women looked like Vivienne Westwood with better teeth, but it was still an enjoyable story with some excellent performances (particularly by Christine Edwards as Vivienne Mrs Cornish). The second play The Final Torture is as a tense play set during the Boxer Rebellion in China where paranoia abounds. Both of these plays were adapted from original plays presented at the Paris Grand Guignol. The final play, The Art of Death, is an original piece that pays homage to a Parisian theatre of the macabre with a producer who is seeking the ultimate special effect. Particularly creepy is Simon Evans who plays Gilles, the very talented special effects man.
The production and acting are all of high standard. What also makes these plays work is the claustrophobia, the lighting and the sound effects. Sometimes the horror is hilarious, and that's part of the fun. If there is a complaint, it could be that sometimes the dialogue is redundant and the punchlines unnecessary. But this is a minor quibble in an otherwise excellent production. It runs until December 12. Definitely worth a trip out in the cold for a few thrills... I can't wait for their next spooky production.
First impressions, including my inability to pronounce Grand Guignol (I add this to my list of words to stumble over, which includes proscenium, achluophobia and Menier), are in the audioboo below
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.
