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: Shalom Baby
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The message from Shalom Baby, currently running at the Theatre Royal Stratford East appears to be that no matter what the circumstances are, there is always a group of people out there that are beneath you. At a time when people are feeling less sympathetic for rioting chavs, travellers building illegally on green belt land, migration from Europe (or elsewhere) and Broken Britain, it is an interesting topic for reflection.
Shalom Baby is a love story initially set in 1930s Berlin. Events unfold as the daughter of a wealthy Jewish family falls in love with their black "Shabbles Goy", which is a term used to describe people who assist Jews on their Sabbath with tasks they are unable to do within Jewish Law. The play then moves forward to the present day where a mixed-race couple in modern and unprejudiced Brooklyn have to cope with a dysfunctional family unit.
Writer-director Rikki Beadle Blair originally became interested in exploring information about information about black survivors of the holocaust. But the scene is set for a much larger exploration of prejudice, sexuality, family and friendship using a variety of theatrical devices including some thought-provoking poetry. It all makes for a constantly intriguing and entertaining night at the theatre.
Helping to keep things in focus is an incredibly talented cast that make two wildly different families so believable. The story bounces back and forth between each family. And with the seating of the theatre rearranged to be either side of the proscenium, characters run in from the back, climb over the seating and fly (sometimes literally) onto the stage which also helps keep things at a brisk pace.
Depending on which side of the proscenium you sit also gives you a slightly different perspective of the theatre. Although I'm not sure being able to see the sign over the stage door reading "Work sets you free" would be everyone's cup of tea. But there is something creepy about being on the wrong side of the safety curtain.
Interval boo reactions with @johnnyfoxlondon follow.
Shalom Baby runs until 19 November at the Theatre Royal Stratford East. Catch it if you can.
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.
