[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: Suddenly Last Winter
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It has been awhile since updates on the blog, but there was a recent trip to Rome, general business, and a lack in interest in seeing anything cultural in London that partly explains that. Well anyway the cultural endeavours returned big time this week with a trip to the Barbican on Wednesday night to see the documentary Suddenly Last Winter, which traces the ill-fated journey of legislation to give equal rights to same-sex partnerships in Italy.
I never went to any gay bars while in Rome, and arriving at the Barbican full of gay Italian men I wondered if they were like this... Albeit with more flattering lighting and better coffee. Actually it was probably better not to visit them given they seem to attract firecrackers and molotov cocktails at the moment... Anyway the documentary was a personal account of a gay couple who traced the journey through the Italian Parliament of legislation that could have given Italy civil partnerships. Watching the documentary with a London audience, it was tempting to laugh and feel smug and superior at how people interviewed on the street equated homosexuality with abnormality or the end of civilisation... Or a mixed
doubles match in tennis... But what I found more fascinating was the complete failure of those in support of the legislation to have been prepared to respond to the onslaught of attacks from conservatives and from the church. The movement seemed unable to respond when conservatives equated civil partnerships as an attack on the family, and nobody wanted that... During the Q&A with the filmmakers
afterward, they highlighted not only how inept the political movement on the left is, but also how fragmented the gay and lesbian movement is. Still the filmmakers made this story so engaging and at times a little frightening. It was not necessarily the picture postcard of Rome that people would expect...
Then again as an Australian from a country where there is no sign of civil partnerships ever coming up on the agenda soon it all did not seem that surprising or shocking. One of the most socially liberal of states Victoria recently caved in to allow broad exemptions to anti-discrimination laws for religious groups. If rights cannot even be established for individuals, it seems probably a stretch to see them extended to partners anytime soon. I guess for now I can always stay smug and superior in London while thinking of Australia as the place where you put the clocks forward nine hours and put the calendar back twenty years...
There was a glimmer of hope in this documentary. One politician commented that five years earlier any debate on civil partnerships... Time will tell if there is a moment in the next ten years whether it will be possible to move further...
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.
