[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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Theatre: FELA!
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Arriving early at the National Theatre to catch a preview of FELA! on Wednesday evening was a good idea. The band was already playing and they sounded so cool. It was such a contrast to the hillbilly rock-a-billy music playing in the theatre foyer, which was being enjoyed by a group of pensioners and a smattering of eccentric dancers who looked as if they were on day release. Who knew that one building could cater to so many tastes? The Olivier Theatre just felt like the place to be. That is no mean feat given the size of the place. Art, graffiti, lights are everywhere and there was the band with its cool beats and sounds...
When FELA! finally gets started, it tells the story of Nigerian musician and political activist Fela Kuti's last night at his Shrine club in the late seventies. Part concert, part dance, part rambling dialogue, and part musical, what is brilliant about this show is its ability to give context to the man and his music. The show weaves in the events that shaped his life and creativity but it is about recreating the experience of seeing the man and experiencing the thrill of his music that is most important. You mostly don't get a biography here, but if you're not familiar with the Afrobeat music he created, by the end of the evening you will be.
When you're not outraged by the injustice, or perplexed by his tight trousers or blue speedos, you will be grooving along.
Sahr Ngaujah, who originated the role on Broadway (and in its earlier incarnations) keeps the show together playing Fela, and understandably shares the role over the season given the demands on the man as the singer, performer, musician and holding everything together. His supporting ladies also provide some amazing vocals.
The first act includes some audience participation that involves "shaking your clock". This is only best attempted if you are part of a large group of people and if you had visited the bar prior to the show. While I was uncertain about a number of elements of the first act, on reflection it was merely foreplay for some incredibly amazing sequences that take place in the second. By the second act the production and performances build at such intensity, that it is at times sensory overload.
Afrobeat surely can no longer be just pigeon-holed as "world music", since it has influenced most major recording artists these days, and so it is about time it had a wider audience. This show is a breathtaking new entry into musical theatre and a long overdue injection of life into the genre. Perhaps even proof that musicals could now even be cool and sexy again...
The show runs through to the new year and will also be part of the National Theatre Live programme on 13 January 2011. Don't miss the experience.
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.
