Marilyn, Dick and Elchin

Where have I been and what have I seen? It's been a funny old week, that began with a return visit last Friday to the Above The StagTheatre, to see their new production of Bathhouse - The Musical. I caught this piece in....2009, when they first performed it at the old venue. It's a fun,  flimsy affair that's more of a musical revue than a book musical. A revival last year did little to warm me to the piece -  that production seemed lacking artistically - and the prospect of another production wasn't going to exactly excite me.

It was great as always to go back to the venue - the UK's only dedicated LGBT theatre (hang on, I think there's a Q in there now) - the UK's only dedicated LGBQT theatre and catch up with the team headed up by Peter Bull. As for the show, in all honesty, I think it has got better. There was certainly a tighter feel to it and a few well-placed script updates helped raise a smile. It's funny to think that when I first saw this production, young Billy was Clickin' For Dick on a laptop rather than on his now much more convenient mobile phone.

Bathhouse - The Musical is undoubtedly a cash-cow for ATS and while it may not be to my taste, there are a lot of peeps out there who - quite understandably - find it a hoot. If that helps fund another Jon Bradfield/Martin Hooper play or something like last year's The Bus, then that pleases me greatly. It's certainly true that Above The Stag are investing in their new space, as the bar have had a very welcome refit and the outer wall have been properly sound-proofed.

Midweek, I was lucky enough to see Telescope, a translation of a famous Azerbaijan play, set in heaven. Mounted as part of the BUTAFestival of Azerbaijani Arts, Telescope was directed by Matthew Gould, whose work I have always admired and was performed at the Testbed1, in the heart of Battersea. I wanted to warm to the venue but it seemed pointless as it is to be demolished next year. Anyway Telescope was a fascinating insight into the Azerbaijan way of life - and after-life, as it is set in heaven's waiting room.

Committed performances and a solid translation helped bring the piece to life assisted by a stunningly simplistic design by Faye Bradley. Gould's directorial style has always hit an even balance between style and substance, search for the emotional truth behind the drama and Telescope is no exception.

Since then it's been fairly slim pickings until last night, I went to see Norma Jeane- The Musical at Ye Olde Rose And Crown Theatre in Walthamstow. It's not a venue I go to that often, although the last time I did, it was to see the simply marvellous Into The Woods, directed by Tim McArthur. So Norma Jeane is no Into  The Woods, but the concept is not without merit and the score contains some genuinely good musical numbers - albeit there are six composer credited. So a revue of sorts and coupled with the script, which occasionally boarders on psycho-babble, it's not too bad.

The performances are however pretty variable. I notice that in her Evening Standard interview, Melissa Suffield explained that she was not going to be doing an impression of Monroe, which is the usual line you get when an actor portrays a historical character. I understand the sentiment and how it's about interpretation et al but wait...... In this musical one actor Rebecca Cole plays Norma Jeane, the drug addicted, insecure small-town girl while Suffield plays Marilyn Monroe - the movie star and international sex-symbol. If ever there was a production when this Marilyn ought to have been an impression, it is now. Sadly, for all Suffield's ambient posturing, shoddy wig and glitter-frocks, she is no Marilyn Monroe. Given half a chance, an undoubtedly capable actor, Suffield could have also played Norma Jeane here.

I would recommend Norma Jeane - The Musical, but the production values were to the lowest common denominator that I am loath to. A recorded soundtrack, overpowering the singers; some dodgy US accents and a really - I CAN SEE THE STAPLES - badly finished set

Spirit Eternal

As a big fan of musical theatre, it is always exciting to go and see new pieces. Recently I witnessed the first, official public/London outings for Happy Ending, Apartment 40c, Molly Wobbly and Heels Of Glory, all of which felt that they were at a stage where they could invite a paying public to enjoy them. In my experience the very nature of new musicals on the fringe means that they are still works in progress and hopefully subject to various revisions as their futures unfold.

It is rare, if ever that I attend the opening of a new musical in this arena and walk away thinking that the show I had just witnessed is pretty much ready. Yarico, a new musical by Carl Miller (book and lyrics), James McConnel (music) and  Paul Leigh (lyrics) is, in my opinion, ready for that 'next stage' - I shudder to say West End, as so often that appears to be a licence to lose money with so many new musicals.

Yarico feels both cosily familiar and uneasily distant. The story is based on real events and examines 18th century racism, attitudes to slavery and inter-racial relationships. There are hints of Pocahontas here but this is no Disney fable. You assume that Thomas Inkle will be the traditional hero but this is pretty much thrown out-of-court by the end of the first act. Yarico is a tale of love, betrayal and redemption played out through a rich, evocative score and some seriously catchy songs. There is a strong vein of comedy too - quite an old-fashioned concept in today's musicals - which blends easily with Yarico's darker, serious themes.

What the future holds for Yarico only time will tell but there is enough of a concept here to entertain and engage a broad audience demographic AND it has Jodie Kidd on board as producer.