We’re warned at the start of the show with an upbeat number that this is not the usual sort of musical. And it turns out to be just that. But with boundless enthusiasm and energy from its two leads, who deploy a range of voices and breathtaking energy to create a series of voices for puppet characters, a bedtime story becomes a silly oddball tale about four souls stuck in purgatory. With puppets. And various toilet humour references. It’s currently playing at Upstairs At The Gatehouse . The piece starts as a bedtime story. Daddy (Mark Underwood) is about to read a bedtime story for Louise (Sarah Louise Hughes). But her stomach felt funny, and soon, she went to the bathroom. Then, for reasons that seem to only make sense in the confines of the show, they start telling the story of four people who died in unfortunate circumstances in the bathroom. Depicted as puppets, they’re stuck in purgatory as St Peter doesn’t have enough space for each of them in the afterlife. And so begins a puppe...
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Theatre: The Sapphires
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It is always good fun introducing non-Australians to the background of the country with the rock, the opera house and the reef. Before a few of us settled in to watch the final performance of The Sapphires at the Barbican I explained that in 1967 there was a referendum where the people of Australia agreed to give the federal government power to formulate laws over Aboriginal people. Previously they were excluded from things such as the census, and the constitution did not allow for the federal government to make laws specifically for Aboriginal people. Surprisingly the programme notes of the show get it wrong and incorrectly refer this to full citizenship rights, but I guess the above description is a bit long-winded and its arguable the referendum was also seen as a symbolic gesture which led eventually led to greater rights.
Against this backdrop is the story of The Sapphires and inspired by writer Tony Briggs's mother and her cousins, who toured Vietnam in 1968 to perform for the troops stationed there. With all these inspiring real life events its a pity the show is more like an extended Kath and Kim episode set to Motown music.
There are laughs, but they are pretty obvious for the most part. Rather than develop a character it seemed easier to crank up the volume to the point of inaudibility. Still it is hard to be annoyed with a show that makes you get up and dance at the end, and everyone was grooving in their own Barbican audience kind of way... I particularly liked the ladies in the front row who resisted getting up until the very end as they had their own internal groove going on that was only obvious by a very subtle head roll...
There also was some great singing when you could hear it. Rising above all this is Casey Donovan, who rose to fame in Australia's Pop Idol a few years back. She does have a comic timing and star power that hopefully will see her back here soon.
Still, it does highlight a number of things about Australia; being a long way from the rest of the world it did have to develop a thriving culture of tribute bands to entertain people, we have some of the most overweight people in the English speaking world, and Australian accents can make anything sound funny if you flatten those vowels and string words together like Naaaahoyethinkyooooraaaalllrooooight...
Future productions outside of Australia should come with a glossary of terms as well, afterall if you did not know a chook was a chicken it could make the mind boggle...
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 ...
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.
