[title of show] takes you back to a time before the fast paced social media where word of mouth for a positive show came from chat boards, video diaries or (god forbid) blogs. A simple staging makes it an ideal (and economical piece to stage), but it’s sweet and earnest take on just putting on a show, and putting it out there and taking a chance gives this show its heart. With a strong and energetic cast and endless musical theatre references, it’s hard to resist and it’s currently playing at the Southwark Playhouse . It opens with Hunter (Jacob Fowler) and Jeff (Thomas Oxley) as struggling young writers in New York City. An upcoming New York Musical Theatre festival, inspires them to write an original musical within three weeks to make the deadline. As they discuss ideas, writers block, distractions and endless other good and bad musicals, an idea for a show emerges. Which is about writing a show for a musical theatre festival. Their friends Heidi (Abbie Budden) and Susan (Mary Moor
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Movies: Mamma Mia! (the movie)
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After all the excitement of the weekend where one was part of the London Gay Men's Chorus performing their summer concert at Cadogan Hall, it was nice to unwind with a quiet movie at the Odeon Leicester Square Sunday evening. Well not quite quiet... It was Mamma Mia! And a special Gaydarnation preview for Pride weekend so a lot of the audience was gay, drunk, coming down whatever they took from last night, or all of the above.
All the stops were pulled out for tonight's preview, including organ player as pre-show entertainment, free lollipops and a souvenir brochure which made the exorbitant admission price for this exclusive preview week worth it (which was almost the cost of a theatre ticket - albeit not one to see Mamma Mia in the West End). The Odeon is still decked out in the cladding from Friday's premiere (above) as well so that was a nice touch too...
I have yet to see the stage musical after being put off by the awful cast recording of the show which I can only assume drained the show of its energy and exuberance, but I was not alone as most of the audience tonight had not seen it. So I got Mark who has seen it quite a few times to come along to see how much it was like the show. Well it turns out it is pretty much like the show and still rather fabulous, if just a little bit silly. Given the encouragement we were given to shout out and dance in the aisles that is probably not such a bad thing. There may not have been dancing in the aisles but there was dancing and grooving in the rows... I suspect given the state of the audience anything more vigorous was out of the question...
Meryl Streep, Christine Baranski and Julie Walters were all great and kept the laughs coming. Many of the musical numbers were also quite well put together... As for the plot, well while it has elements of farce about it, it also reminded me of the Southpark episode Cartman's Mom is Still A Dirty Slut which lasted right up to the conclusion of the film when some person yelled out, "Never mind all that, who's the bloody dad?!!" Well I suspect by this point nobody really cares...
This is a great night out at the movies, assuming you don't mind ABBA music and silly stories and chick flicks for older chicks. If you can get a group of ten or so people together, have a few drinks beforehand, then hit the cinema, it will be a great night. Well... That was the mix that sure worked well tonight... The film opens from Friday.
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.
