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Belters and bohemians: Opera Locos @Sadlers_wells

At the start of the Opera Locos performance, the announcement says that they really are singing. You could be forgiven for wondering that, given the amplification turns up the backing track and the voices so loud that you can't always tell what's real. But this is a mostly harmless and slightly eccentric blend of opera classics fused with the occasional pop classic. However, recognising the pop tunes would help if you were over a certain age. The most recent of them dates back twenty years. It's currently playing at the Peacock Theatre .  Five performers play out a variety of archetype opera characters. There's the worn-out tenor (Jesús Álvarez), the macho baritone (Enrique Sánchez-Ramos), the eccentric counter-tenor (Michaël Kone), the dreamy soprano (María Rey-Joly) and the wild mezzo-soprano (Mayca Teba). Since my singing days, I haven't recognised these types of performers. However, once, I recall a conductor saying he wanted no mezzo-sopranos singing with the s

Unrequited London properties: My Night With Reg

I finally caught up with the sellout show My Night With Reg. Kevin Elyot's funny and groundbreaking play is revived with style and a great cast at the Donmar.

Although there is perhaps a tad too much style here when depicting gay men living in London in the 1980s. In the days before home renovation television shows introduced the masses to beige, I thought most of them decorated their flats as if they were pubs.

The piece is more about love and English relationships than about being gay or AIDS. Jonathan Broadbent is a standout as the central character Guy, who is unlucky in love, and his inability to express himself (except with his aprons) is heartbreaking to watch.

Over three scenes set in Guy's apartment over a number of years, we revisit a circle of friends during the AIDs epidemic. Unrequited love, domesticity and infidelity ensue.

At the time it it first premiered at the Royal Court (and then transferred to the West End), on Broadway you could see Angels In America. While the latter was ambitious in scope and epic, this piece focuses on the minutiae of middle-class life.

Which is not to say it is bad, but the weightlessness of the piece did leave me wondering was the central message gay men should not leave flats in their will to people they fancy?

Elyot saved most of the gay gore for later works such as Clapham Junction, but there is a bit of full frontal nudity in the piece.

Still, it's lovely to look at. It runs through September. There are limited tickets available through the Barclays Front Row scheme.


Photo credits: production photos

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