The Lieutenant of Inishmore Aug 20th, ’18

london west end

 

I initially booked this show because of Aiden Turner who is famous for mowing grass shirtless and brooding in a very sexy manner on TV. Lucky me, he’s also a good actor who thrives on stage and very obviously has a load of fun.

It all starts with a poor brutally slaughtered cat. Wee Thomas is Padraik’s black cat; Padraik, who went off to become an Irish hero and fight the British,  but as a splinter group that attacks mostly shops and the odd pills and marihuana dealer, whom he tortures with happy glee. Just when he’s about to cut his victim’s nipples, his phone rings and his dad informs him that Wee Thomas is poorly. (Because he wants to break the news of the black cat gently so as not to trigger mad Padraik’s really mad temper) . But it’s triggered, of course and mad Paddy on his way home to check on his only childhood friend, the little black kitten that would go on days long benders and come back with a swagger and really hungry.

At home his dad and Donny are fretting about how Paddy will react to the death of his cat. They even obtain a cat, albeit an orange one and start dying it with shoe cream. But while they desperately try to cover up the death of Tom, there are three members of the nra who wait for the splinter group coming back home. They even had his cat killed to lure him back home to stand trial for his rather mad endeavours.  Padraic though is greeted by Mairead, 16 years young and with a desperate crush both on him and on the freedom of Ireland. She’s a master shot and gets weak kneed when he kisses her.

Padraic of course sees through the cover up, kills the orange cat and is about to slaughter his father and Donny when those three nra members step in. Mahem breaks out. Padraic is almostbat his wits’ end, but all of a sudden sharpshooter Mairead takes out their eyes and just as they’re about to die they confess to Wee Thomas’ murder. If only Padraic hadn’t killed the orange tabby and if only said tabby weren’t owned by Mairead and if only ….  and just as dad, Donny and Mairead are cleaning up four dead bodies, the window slips open and Wee Thomas struts in, hungry and swaggery…

The blackest of comedies had me roaring with laughter, the cast was incredible and Turner, thankfully cast against his TVparts is allowed to shine. It’s an over the top, irreverent, fun, glimpse on the fight for freedom… oh, no, not really, it’s just a brilliant hilarious comedy full of vicious humour and pointed dialogue. And Aiden Turner didn’t even have to lose his bloodied shirt. 😁😁😁

 

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The Homosexuals or Faggots, March ’17

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Please, dear reader, bear with me. I have the ultimate pleasure to see this play multiple times, thoroughly enjoying it every time and being totally overwhelmed by the sheer talent of Simon Burke. Yes, I am a fan, but I think I would be able to be critical as well. It’s just … he – and the cast as well – are amazing.

The play by Declan Greene is new, strives, and succeeds, to be provocative, is over the top crude at times, but drives home its points with directness that sometimes hurts. Because it’s not just “Homosexuals” that recognise themselves in the words of the play. If we all listen closely, we all recognise ourselves to a degree.

You see, it’s all about Warren (Simon Burke) . He is a successful blogger (thedailybulge.com and yes, there are various blogs of that name but sadly none of them is affiliated to the play), he owns an apartment in tres chic Darlinghurst, he’s happily married and quite admired for his erotic photography. At least that’s the picture he presents to the world.

The opening scene lays the grounds for what’s going to come. A very upset Warren tells us about this dreadful evening he’d had. Husband Kim dutifully delivers encouragement and the proper adjectives. Because it’s been a farce! First paying 120 dollars for tickets to impress Warren’s guests from Yahoo (big deal), then sitting through an – English – farce with according to Warren only one redeeming scene (which Kim didn’t like at all), and finally trying to find some food at 11pm in The Cross in Darlinghurst. They make it to a British pub and there it was. In the menue. Written there between Spotted Dick and Wiggly Squids: Faggots! A farce, really. Slurred at by a menue!!! Both Warren and Kim take immediate offense which results in a flying plate, an enraged pub owner (they’re minced liver meatballs!) and a devastated Warren feeling powerless (Kim: you felt impotent.. Warren: NOT impotent, just to clarify!!!) . They decide to boycott the place.

Fast forward months to Mardi Gras in Sydney. Warren has invited a gorgeous Twink (a twentysomething year old straight boy) to do a “photoshoot” he clearly wants to expand into something else. But while the unsuspecting Lucacz tells stories about how he and his model agency friends had been hiking naked and then drove home – naked (and Warren has no idea how to hide his naked lust) – Kim comes home early from a summit, because he had been cyberbullied. So in between hiding the Twink, ushering Kim upstairs and having to take up an interview with Bae Bae, a highly political blogger with a web series, Warren is being tugged in every direction. Only with the help of his old friend Diana he manages to avert immediate crisis, but it doesn’t end there. Bae Bae turns out to be the bully that had hurt Kim. Kim suspects – correctly – that husband Warren had more in mind than just a photoshoot, and had forbidden Warren’s hobby when they married (It’s not even legal, some dyke wooshed a stick over you both on the beach, ladida, says Diana) and Lucacz has lost his baggie of cocaine in the folds of the couch.

Bae Bae turns out to be half blind and only thus another terrible crisis is averted, because the internet VIP takes offence at anything even remotely racist. Luckily she has to run out in support of a friend surrounded by the village people.

The parade starts (and can only be seen from a window over the loo in the bathroom) so everyone still present runs in there.

Enter a burglar. By now Warren – trying to convince Kim he didn’t have a photoshoot planned – wears a too small police costume, Kim has donned a Caitlyn Jenner costume, Diana wants to go to the politically incorrect party a friend is throwing and the burglar looks just like Bae Bae and has lost her previous job as a sous chef because some idiot threw a hissy fit and the pub had to close down because of a boycott.

Lukacz comes back for his “baggie”. Unfortunately the burglar was faster, the coke is gone. Madness reaches its farcical boiling point with doors opening and smashing closed, a couch turning into a wall and hiding people, and the kitchen going up in flames. Warren and Kim’s quarrelling reaches another highpoint when Kim throws mashed potatoes in Warren’s face and knees him in the balls. Those mashed potatoes make another appearance when Lucacz, being jewish, empties the bowl over Kim in his Hitler Drag Queen costume. and then Bae Bae comes back.

And everything is lost. Yahoo won’t be supporting Warren any longer. Diana is deeply hurt not just by Warren’s broken promise to go with her to the party. She fumes about how  both Warren and Kim have left their LGBT family behind to become one of Them. One of the wealthy married people who moan about how hard they have it – even though they have it all – a life none of them could even picture in the 80ies when they buried two or three friends a week at the height of the Aids-epidemic.

When Diana runs out of the apartment, doors banging, the life Warren had, crumbles around him. Kim desperately invokes their broken love, and that they must stick together, and clean up the apartment. But Warren is just sitting there, in the midst of the shattered remnants of his life, everything gone that he cared for, his life with Kim a lie. Tears are streaming down his face as the stage grows slowly dark.

++++

Farce is probably the most complicated form of theatre to play. If the timing is off, it doesn’t work. If one of the actors tries to be funny, it doesn’t work. If the darkness of/in the end doesn’t come, it doesn’t work.

that said: this farce ticked all the boxes. The cast is fantastic.

I’ll start with Diana – Genevieve Lemon. Her Bill Cosby is a riot. Her monologue at the beginning of the dark end is amazing. The way she goes from hysterically funny to broken by memories and feeling left out by her best friend is an amazing display of her talent.

Bae Bae – Mama Alto – fuck, she’s good as Bae Bae. Yes, words hurt. They have meaning. They are worth fighting for. Awareness is a must in times like these. We all must be alert. I hear, she worked with Declan Greene (the writer) on her part. Damn, she’s talented.

Mama Alto also was the drug addled burglar who looked unbelievably like Bae Bae, thus adding to the farce. I do admit that she did seem a bit too over the top sometimes, but her talent made up for that. I like her a lot and hope that I’ll be able to see her in her “natural environment” as a singer/entertainer sometime soon.

Lucacz – Lincoln Younes – it’s his first theatrical adventure (he’s been highly successful on TV) and he brings all the goodies a “Twink” needs – he has a body to die for, he oozes charm and he’s quite sexy when he’s freaking out on stage. Almost with wonder he confessed at opening night that he realised only during rehearsals that he could actually play with different aspects of his part and he seems to be doing a great job so far, even when he’s realising something doesn’t work and thankfully ditching that in the next show.

Kim – Simon Corfield – he’s portraying that really whiney overly sensitive femme man where everyone’s wondering – given Warren’s preference for young, sexy jewish boys – why he ended up getting married to him. Somehow he feels like the weakest part of the cast, trying to overplay more often than not, and I wonder if it’s an instruction from the director ( who is doing an amazing job, btw – she’s incredibly gifted and the way she’s steering everyone else I think it’s not her directing. Lee Lewis did a magnificent job, and jokingly referred to directing a farce as the anarchy of the rehearsal room). I have the suspicion, that anarchy might have taken over Kim.

Now finally to Warren – Simon Burke. His part is the Lothario of the farce, the charming adulterer, the man who has it all, wants more and loses everything in the process. His comedic timing is impeccable. He is everywhere at once, barely leaving the stage and even breaking the fourth wall in a funny, desperately charming way that makes you understand why everyone is always forgiving him. He does it with an almost magical easiness and skill that is a joy to watch. Yes, he’s playing a “bad” character, but he does it in a way that has you forget his flaws. And when his career, his life finally collapses, the emotion, the sadness, the loss is there in his eyes and his demeanour. There is that one scene at the end where Kim asks him “have you learned your lesson” – and his up to this point heartfelt sorrow for causing so much pain drains away in moments until he finally, much colder, says “Yes”. It seems the last straw his husband is dealing him – when he sits down, tucking his feet under him, hugging his legs, it is clear that he has nothing more to give, no love, no regret, no feeling at all, but also that he can no longer take love – he is utterly alone. Something has died inside him as he looks at his life that is lost and shattered. And his tears mourn more than just the loss of his apartment.

+++

also I want to thank the theatre and the theatre family at the Griffin – they treated little old me like royalty and I admit I enjoyed that so much! xxx

+++

This is what Lee Lewis had to say in the program:

This play is a cluttered, messy,cruel modern farce. And right now, in the

midst of the anarchy of the rehearsal
room I am hating both the form and the
playwright: the form for embracing
implausibility and props, and the
playwright for leaving me with no choice
but to put these issues on the stage. If
Declan Greene had a less urgent voice, my
life would be a lot simpler this week.
Declan (has an) extraordinary capacity to detail the humiliations
and horrors of ordinary modern urban existence. His
writing is challenging for actors and audience alike. It
requires a deep honesty about frailty and pretension. It is
painful to make… and not just because of all the slamming
of doors. It is painful because it requires us all to dip into
the ‘well of worst moments’ in order to bring the best
moments of the play to life.
Yes there are big contemporary political issues wrapped
around the play but the heart of the story is filled with love,
age, friendship, the crises of choice and the horror of
mistakes.
The Homosexuals, or ‘Faggots’
dissects the
aspirations of coupledom but with the scalpel of farce.
Everyday at work is like entering the humiliation Olympics.
+++
At the Q&A after one of the shows, (I think it was) Lincoln who said that in ten years’ time we’ll look back at this play and see how far we’ve come – and if we haven’t come this far, how much we failed.