Rufus Wainwright and Ivo Van Hove's misguided musical is bewilderingly terrible on almost every front
Rufus Wainwright and Ivo Van Hove's misguided musical is bewilderingly terrible on almost every frontOh dear. Just occasionally a new West End show is so bewilderingly terrible that one can only gasp in quiet amazement at the fact that it has made it before paying audiences in the first place.
), a documentary team is filming the cast and crew. Cue much onstage camera work, projected onto a looming screen at the back of the stage. This overused video conceit appears increasingly tired now and adds nothing, except an opportunity to study the intricacy of Smith’s many tattoos. Smith is actress Myrtle Gordon, who finds her own struggles with ageing and relationships echoed by the character she is playing. Myrtle loathes the script – as did I, with its doom-laden talk of the “change of life” – but why it has taken her until just a few days before the titular event to realise this is a real puzzle.
The characters struggle to make it into two dimensions, let alone three. All the men, including brutally self-serving director Manny , a besotted young fan of Myrtle’s, being run over outside the theatre after a fleeting encounter with her heroine. The script tries – but fails – to make us believe that Myrtle is haunted by the young woman’s spirit, while poor Haas is left to prance provocatively but pointlessly around in a short skirt and stockings.
“The show must go on” is the adage that has sustained Theatreland for decades, but one feels that there must be occasional exceptions to the rule – and the self-indulgent twaddle that is both
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