"I'm Potty the Plant," sings a potted plant in this odd little fringe concept of a show. It's hard not to get the tune out of your head, even if the show is brief. It's an earworm for a show that features a worm-like plant as a puppet. And given the show's brevity, running at only an hour, it's hard to get too annoyed by a lack of a coherent story, even if it still seems like the show could use a bit more development (which is underway). It has made its London debut at Wilton's Music Hall. The premise is that Potty, the plant, lives in the hospital office of Dr Acula (geddit?) and dreams of a life with the cleaning lady Miss Lacey (Lucy Appleton). But Dr Acula might be responsible for why all these children are disappearing while trying to romance Miss Lacey for her family's money that she doesn't have. Three nurses are on the case, trying to solve the mystery. If the show settled on a convincing plot, location and set of characters, it could ...
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Theatre: On The Twentieth Century
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Tuesday night was an opportunity to catch the first preview of On The Twentieth Century at the Union Theatre. Cy Coleman's 1978 musical is set in the 1920s (or it could be the 1930s) where producer Oscar Jaffee is trying to score a hit again with his former leading lady, who has gone on to bigger success in the movies.
I had not previously seen this show, but over a pre-theatre fish and chips (or as they tend to call it in south London, fush and chups) at Masters Super Fish, Johnnyfox was waxing lyrical about how wonderfully rich and inventive the overture to the show was. So I felt his disappointment when the overture was arranged by musical director Oliver Jackson for a saxophone quartet and piano. It was still wonderful but not quite so rich. Actually throughout the show Johnnyfox was mostly singing along so I could sense it was going to be one of those evenings where I would be experiencing quite a lot of audience participation...
Anyway, this was the first preview and no doubt the performances will get better as the run progresses, but as a Twentieth Century virgin I had a great time. The performances of all the leads were great and I particularly liked Rebecca Vere as the star Lilly Garland. I last saw her in Batboy and comic timing and vocal range are perfectly suited for this role. She also looks great (although not that you can tell from the above cast photo). Valda Aviks also had a little star turn as the nut Letitia Primrose. It was particularly nice she singled out Webcowgirl as in need of repenting for a life in the cheap seats.
If there was one quibble it was that the staging of the show could have made more of the confined space of the Union Theatre, rather than spanning such a length that watching the show felt like being at a tennis match. But this still is a classy little show and an excellent little diversion over the Christmas period (particularly if you don't fancy seeing a panto).
On The Twentieth Centurycontinues at the Union Theatre, until 15 January 2011 (no performances 24/12-3/1) Tuesday-Saturday at 7.30 and Saturdays and Sundays also at 2.30. Tickets typically £16.50 (£13.50 concessions). Box Office 020 7261 9876, or with a fee from TicketSource.
Audioboos from the jaded and usual suspects are as follows:
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 ...
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.
