If you happen to find yourself in Stockholm on September 27th, you might want to check out Dö Klubbdöden, the Swedish Party Monster-esque musical at the Dramalabbet theatre, written by Isabel Cruz Liljegren and starring Michal Axel Piotrowski as ME! Oh, and David Amesen as someone named Michael SomethingOrOther. Alek? Ulig? I couldn’t quite make it out. Swedish is such a difficult language. A rough translation of the press release says: “Dö Klubbdöden is based on real events surrounding James St. James and Michael Alig’s life and the Clubkids movement in New York during ’80s and ’90s. In this clubmusical, with original music by Lissi Dancefloor Disaster, we follow Clubkids longing for togetherness and creating a life beyond the everyday boredom, work principles, and heterosexual norms. The director is Gustav Englund, who lately directed a play called Our Golden Girl at Dramalabbet.” Michal Axel Piotrowski has been emailing me updates about the show’s progress and assures me opening night is going to be BANANAS. I’m thinking of starting a Kickstarter to raise money for my plane ticket. What do you think? Want to go?
Tag Archives: Theater
A new play about the final hours of the late great fashion icon Isabella Blow, entitled Blow Me, is now playing at Mad Cat Theatre Company in Miami, with possible shows in New York and Edinburgh later this year. Written by Jessica Farr and directed by the company’s founder, Paul Tei, the play stars actress Erin Joy Schmidt as Isabella, and examines the final moments of the British fashion editor’s life, with particular focus on the eve of her seventh and final suicide attempt. Blow, you may recall, killed herself by drinking weed killer (a particularly painful and time consuming way to go). And while the whole thing seems slightly ghoulish, I’d definitely go see it. Maybe by the time the production hits New York, they can spring for some better hats. Issy is spinning in her grave over those damn synthetic feathers, I’m sure. (via Daily Mail)
If you’re in NYC this August, make plans now to see RuPaul’s Drag Race Season 5 winner Jinkx Monsoon in her super-fun Off-Broadway musical revue, The Vaudevillians. This past Thursday night I luckily snagged a ticket (the show is totes sold out for the rest of its July dates), then stood in line outside the Laurie Beechman Theater amid the sweltering 90-degrees-at-9:30PM temps on 42nd Street, waiting for the second show of the night to begin. And… it was seriously worth it.
Jinkx and her onstage partner, composer/musical director Major Scales appear in The Vaudevillians as Kitty Witless and Dr. Dan Von Dandy, two 1920s-era show folks who got frozen for decades (thanks to a wrong turn in Antarctica and a lot of cocaine). They’ve since thawed out, and are ready to entertain.
The show is a complete hoot, sharply funny, packed with brilliant Tin Pan Alley send-ups of tunes by Britney Spears, Janis Joplin, Queen, Madonna – and Jinkx is LIVING onstage, killing it throughout. Also, she manages to deliver a version of one of the world’s most overused disco tunes which may be the best dramatically re-interpreted cover I’ve heard in years. (It’s very Gloria Gaynor meets Ibsen. Really. It’s amazing.)
Fans of Jinkxy will be wowed, folks who’ve never heard of her will be won over. (The NY Times has chimed in, gushing.) Thursday night’s crowd was a mix of Drag Race devotees, show queens, Glee-ish kids, moms and daughters, tourists and spiffy NYC gays. Joan Rivers has even caught the show! And so has Jesse Tyler Ferguson.
Side note: Behind me in line on 42nd Street before the show, two little gay boys were playing the Drag Race mobile game Dragopolis on their phone. For reals! It’s a Drag Race world, chickens… We just live in it.
Word has it more Vaudevillians shows will be added for September. Make plans to get Jinkx’ed!
Five cute boys, stuck in a van with nothing much to do, decide to reenact The Book of Mormon’s opening number, because why not? Says a commenter on Towleroad: “The line between Mormon missionaries, chorus boys, and gay porn is so thin sometimes…”
Honorary Professor of Linguistics at the University of Wales, David Crystal, along with his son (OMG, HIS SON!) explain the difference between performing Shakespeare in the original pronunciation (known as OP) and performing it in standard modern English. It makes all the difference in the world, apparently. Puns and lewd jokes, hidden when speaking modern English, leap out when performed in certain versions of OP. Rhymes that don’t work in modern style, suddenly do in OP (love vs. prove, speak vs. break, etc). And as fascinating as it is, I’m sorry I was too busy imagining young Master Crystal reciting that Henry V monologue in my ear while he rides me like a stallion. “Oh for a muse of fire…” (via SongstersMiscellany)
The Olivier Award’s are the British equivalent to the Tony’s, of course, honoring the best of the best of the West End and beyond. On the red carpet, from top, left: Kim Catrell, who will be starring as Alexandra Del Lago in Sweet Bird of Youth this summer, which promises to be REALLY SOMETHING; Dame Helen Mirren who won Best Actress for The Audience; D-Rad, who presented Dame Henen Mirren with said Best Actress award; James McAvoy who played Macbeth; the incomparable Elaine Page; and darling Will Young, who was nominated for Best Actor in a Musical for his role of the Emcee in a revival of Cabaret. Full list of nominees and winners here.
It’s a rave! Kind of. The LA Times seems slightly embarrassed that it liked Bette Midler’s one-woman show about ’70s superagent Sue Mengers, I’ll Eat You Last. They describe Midler as “a galvanizing stage presence even in a role that barely requires her to move anything but her mouth” and says “The names that are dropped will no doubt titillate the affluent AARP crowd (Broadway’s backbone), but the script often feels like a back issue of People magazine.” In other words, it’s fun, but don’t expect to be artistically challenged. “Midler coaxes you into lowering your expectations and just enjoying this experience for what it is: a Broadway bonbon. This is what they call personality acting, the prerogative of stars of a certain magnitude. There aren’t that many of Midler’s caliber around anymore, the kind of performers who can charge a room with laughter before even a joke has passed their lips. Talent no longer has to be proved at this stage of the game. Fans, grateful for the years of delight, are content to bask in the glow of happy memories rekindled by the snap of a voice or the whisk of a hand gesture.” It’s true. They had me at the picture of Bette in a caftan. Who needs anything more? For tickets, go to Telecharge.
We might have all thought we were being punked when we first saw the ads for Mike Tyson’s one-man show directed by Spike Lee coming to the Pantages Theater in LA, but, lo and behold, not only is it real, it’s getting rave reviews. Even the theater critic who reviewed it for the LA Times, Charles McNulty, is surprised. “If there was one ring in the world that I, a weakling theater critic, knew I could knock Mike Tyson out in, it was the Pantages Theatre, where Mike Tyson: Undisputed Truth played this past weekend. Tyson might have 100 pounds more muscle on him than I do, not to mention a facial tattoo out of my mother’s worst nightmare, but I was the one trash-talking all week about our upcoming bout. ‘I want a piece of him,’ I said loudly to no one in particular in the newsroom. ‘When I’m through with him, he’s going to wish he was touring as an uncredited extra in Wicked.’ But like all those mouthy contenders who ended up flat on their back in the first round, I underestimated the former heavyweight champion of the world. He came to box with himself, to thrash out his story before his fans, leaving no controversy unturned and me dazed with a sympathy I hadn’t expected. Yes, he threw a few rabbit punches at sensitive moments and resorted to rope-a-dope in a couple of anecdotes that made him seem more victim than assailant. But there were steady jabs aimed squarely at his own foolishness. I thought I’d be cold-cocking him right now in print, but his mix of street swagger and newfound humility conquered me. Tyson’s diction isn’t meant for the stage. (Julius Caesar isn’t in his future). But he has something that isn’t encountered all that often in the theater — an authentic voice.” Read the entire review here.