Reflecting a more diverse gay community, Guy – a new musical offers up a sweet and queer rom-com at the Bunker Theatre
“I search, I find…
What am I looking for?”
‘Masc4masc’, ‘no fats, no femmes, no Asians’, ‘str8-acting’ – for all that apps like Grindr have revolutionised the gay dating world, it’s also allowed for a proliferation of retrogressive notions of masculinity that fly in the face of the freedom that embracing your queer identity ought to bring. And it is such a world that leoe&hyde’s latest piece Guy – a new musical seeks to tackle with a refreshing take on the genre.
Guy is determined to find love, but in all his insecurities about his weight and his looks and his lack of confidence, isn’t having much luck. Hours spent scrolling through profile after profile of ripped shirtless torsos aren’t helping- so what’s a boy to do? Guy shows us how the impact of a decision to make even just a small change can completely change your prospects, a slight shift in outlook can really make you see the world a different way. And crucially, show you that the way you see yourself is vastly different from how others perceive you. Continue reading “Review: Guy – a new musical, Bunker Theatre”
“No other land could nurse them”
The Finborough’s policy of celebrating neglected British musical theatre has unearthed much of interest for fans of the genre, though it is probably safe to say that there have been as many which will remain curiosities as there have bona fide successes worthy of further recognition and reappraisal. It is thereforemost pleasing to discover that their latest rediscovery, the comic opera Merrie England, is a genuine contender for the latter category and a scream of a success.
Written in 1902 by composer Edward German and librettist Basil Hood (a man who apparently died from overwork and undereating…), the show occupies similar territory to Gilbert and Sullivan in its operetta form, considerable lyrical wordplay and complete frivolity when it comes to matters of plot. For what its worth here, the play is set in the court of Queen Elizabeth I as she visits the Mayday celebrations in the village of Windsor, an event which sends the lovelives and rivalries of everyone from monarch to villagers into haywire. Continue reading “Review: Merrie England, Finborough Theatre”
“The theatre is dying. No, the theatre is living”
One of the most annoying things about the transport network in this country is the fact that so much of the repair work and resulting closures take place at the weekend so that normal folk are vastly inconvenienced whilst the suits have their week-day travel protected. Whether it is national train services being replaced with coaches or TfL’s ever-ongoing programme of line closures and restricted services on both the underground and overground trains, it makes it extremely hard to make a reliable travel schedule. Which is a long-winded way for me getting round to saying that despite my best efforts, I only made it to the second half of Me & Juliet at the Finborough.
Consequently this is going to be more a collection of comments rather than a full-blown review, you should head over to Webcowgirl’s site to read the view of someone who arrived on time. This is actually the European premiere of Rodgers and Hammerstein’s show, continuing the Finborough’s exploration of the lesser known works from their canon, State Fair received its UK debut here last year subsequently transferring to the Trafalgar Studios 2 this summer. Continue reading “Review: Me & Juliet, Finborough Theatre”