Whenever something has been hyped by
friends or in the media, expectations are so high that I'm generally
disappointed. Several months ago, I was pleased to see the return of
a musical I watched almost ten years ago. I went along to the Grand
in Leeds knowing nothing about the production and was absolutely
blown away by it.
Mark Davies Markham's Taboo
would undoubtedly appear in my top 5 theatre experiences if anyone
challenged me to choose. Having seen it all those years ago I have
often wondered why, after its initial tour, it seemed to disappear,
rather than become a regular fixture in a West End Theatre –
perhaps all the more surprising considering its Olivier Award win.
Co-written
by the man himself, Taboo
loosely follows Boy George's rise to fame. Markham's lively songs are
both witty and moving, successfully reflecting the social upheaval of
the time and shocking homophobia experienced by George and other New
Romantic contemporaries. The script is cleverly packed with amusing
innuendos and flamboyant characters while colourful costumes and sets
reflect daring 80s' fashions.
I
first saw Taboo being
performed on a conventional proscenium stage that allows audiences to
see the whole picture from as near or as far as seat prices and
availability permit. The cast were faultless and the show had the
added attraction of having Mark Little (Joe Mangel in Neighbours)
playing Leigh Bowery. Normally seeing the good and bad in everything,
I wouldn't call myself a hypercritical person but after Taboo
couldn't think of a single criticism. I remember being inspired by
the power of theatre and feeling energised.
Last weekend, I arrived at The Brixton
Clubhouse feeling nervous. Having showered the show with praise for
the last few months, I was anxious not to disappoint my companion.
The cat-walk style stage only added to my nerves, making me fearful
of audience participation. Sitting beside the edge of the stage, we
both grew increasingly apprehensive as vibrantly dressed cast members
walked around the bar area, pausing in menacing stances.
Although the experience was a
completely different one, I'm relieved to say the revived production
was just as worthy of the high praise its predecessor received. As
Taboo is named after Leigh Bowery's legendary 80s' nightclub,
its current performance space (a club venue above The Prince Albert
pub) seems particularly apt. Lamp-lit tables and rows of chairs are
dotted around a snaking cat-walk with the cast making use of the
stage, table tops, bar surface and surrounding space. This set-up leaves little room
for error and makes for a much more unique experience, ensuring every
member of the audience sees the action from a different perspective.
Watching Paul Baker make a return to
his role as Philip Sallon was an intensely personal experience as he
paused inches away from my seat, facing my direction to sing one of
the most emotionally raw numbers and caught my eye in the process.
Final scenes following Leigh Bowery's life involved Samuel Buttery
almost completely stripping off in a prolonged statuesque pose for
the duration of a song; Those sitting nearest the club entrance would
have had a direct view of his arse crack – I'm glad I wasn't
sitting there!
The Verdict?
Even though vocals occasionally needed
amplifying, Taboo's 2013 cast had no weak links with faultless
performances from all. The Brixton Clubhouse venue provided a unique
setting and approach to the musical, resulting in a memorable and
exhilarating evening without disappointment.
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