True Blue – Review: Torch Song at The Turbine Theatre

Torch Song is the inaugural production of The Turbine Theatre, which is based in a new development next to Battersea Power Station.

Matthew Needham in Torch Song – Photo: Mark Senior

New York in the late 1970s. It has a buzzing nightlife, where gay men can be at ease – but not every gay man has the same aspirations. Arnold is longing for someone to set up home with and share his life. He works as a drag queen, which already is a sign of his gentle nature, but also one that does not make any compromises: “I am, what I am,” to quote a fellow drag queen from that period, Albin in La Cage aux Folles. Dignity is something Arnold values highly.

Arnold meets Ed, but his dreams are shattered, when Ed decides he is better off with a woman at his side. Of course, he loves her… but differently from the way he feels about Arnold, to whom he can truly open up his heart. Arnold’s heart, however, has gone through too many agonies already to let himself in with someone who does not stand up for what he feels – because Arnold knows exactly what he feels and even dares to dream of a fulfilled life, which includes, for example, adopting a child… New York was the first state at the time to accept gay applicants.

Dino Fetscher and Matthew Needham in Torch Song – Photo: Mark Senior

The Turbine Theatre shows an abridged version of Harvey Fierstein’s Torch Song Trilogy, hence only Torch Song. The trilogy version was first shown on Broadway in 1982, and revived to great acclaim not too long ago at the Menier Chocolate Factory, London, in 2012, with David Bedella playing Arnold. Fierstein revised the piece two years ago.

It’s a magnificent play with lots of witty lines, which capture the complexities of human relationships in a very heartfelt way. At the same time, it offers a telling picture of gay life and the continuing struggle within a predominantly straight society, even after gay liberation in the early 1970s.

The first act deals with Arnold and Ed’s fraught relationship, which stays within the gay community; the second branches out and includes Ed’s wife, who considers it ‘cool’ to get to know Ed’s former boyfriend; and, by the third act, Arnold’s dream has finally come true, but we also see an example of the cruel reality that the gay community was still exposed to. Arnold’s lover was brutally killed and sparks fly when his Jewish mother (Bernice Stegers), visiting from Florida, regards it as a catastrophe that Arnold, as a gay man, should raise a child. It’s clearly the strongest act, with emotions running high, but also with Arnold’s adopted teenage son (Jay Lycurgo) bringing a refreshing playfulness and lightness to the piece, which counteracts the family drama. He is a joy to watch.

Matthew Needham and Jay Lycurgo in Torch Song – Photo: Mark Senior

Matthew Needbham’s Arnold has a slender figure, which gives him an air of vulnerability. His relative youth also adds a different twist to the story. You can sense his struggle to find a meaningful relationship but also his anger at life. Unfortunately this comes at a cost and more varied and nuanced tones would have been welcome. A performance highlight is his sexual adventure in the backroom of a nightclub, which is truly funny and sad at the same time.

After having choreographed and directed major musicals on Broadway and in the West End, Drew McOnie now stages his first play. It’s a pleasant production, but the brilliance of Fierstein’s humour and humanity could have been brought out more to let the characters sparkle.

Nevertheless, it’s great to be reminded of this masterpiece and to share it with a younger generation.

Torch Song runs at The Turbine Theatre until 13 October.

By Sabine Schereck

For more information about the play, Out In South London spoke to David Bedella in July 2012.

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Souls of an Unbuilt City – Review: The Unbuilt City

Jonathan Chambers and Sandra Dickinson in The Unbuilt City – PND Photography

Keith Bunin’s play The Unbuilt City receives its European premiere at the King’s Head Theatre.

Brooklyn. Jonah (Jonathan Chambers) has come to visit Claudia (Sandra Dickinson) one Saturday afternoon to inspect her collection. He hopes to acquire it for the university archive. Yet it is unclear what her collection actually consists of – there has been rumour of an ‘unbuilt city’. Will he find out the truth?

This is a wonderfully moving, funny and thoughtful play, brilliantly brought to life by Jonathan Chambers and Sandra Dickinson, under the direction of Glen Walford.

Jonah has to tread carefully. Most elderly ladies can be persuaded to part with their collections through the means of attention and flattery, but Claudia turns the tables on him. She also wants to find out about his life, so we not only hear about her background as an immigrant, which shaped the person she is today, but also about his story. It is a journey into the past to understand their hopes, dreams and fears and enables the audience to sympathise with them.

It also reveals the humour of everyday life, when, for example, Jonah talks about working in an archive, where boxes are unpacked, and he explains the skill of removing staples without damaging the paper. It’s a joy to hear his passion about archives, which offer journalists and historians unexpected and inspirational finds.

Claudia however has a less idealistic view of archives. She feels sorry for the orphaned pieces being trapped in a dark padlocked room.

The play explores what we do with our lives and whether it actually matters. Claudia came to recognise that while she had no talent for the arts, she did have the talent to recognise art, and so she devoted her life to supporting it. Although she has had a rich life, a hole remains in the form of a companion to share it with, and so she is accompanied by a deep sense of longing. This is something Jonah shares, foregrounded especially when Claudia asks him: ‘Who is waiting for you when you come home?’ Jonah is gay, he doesn’t need to hide in the closet anymore. He has his romantic adventures, but nothing lasts. He devotes himself to the book he would like to write. And if Claudia were to sell the collection, a small percentage would fall to him – enough to buy himself the time to write it. But the question of money brings more twists and turns and their story remains engaging to the very end.

It is refreshing to watch a contemporary yet timeless play with characters you care about, questions that leave you thinking and a performance you are grateful you saw.

The Unbuilt City runs at the King’s Head Theatre until 30 June.

By Sabine Schereck


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Entertaining with Splendour and the Spectacular

Milano from the series Fratelli d’Italia. Photo: Matthias Schaller

Opera: Passion, Power and Politics is the V&A’s latest big exhibition. These keywords might underlie the genre itself but not necessarily the exhibition. Its draw is the worlds of the different periods that are brought to life and form the context of the seven operas that are presented. Ground-breaking works in the history of opera – from Monteverdi’s L’Incoronazione di Poppea in Venice in 1643 to Shostakovich’s Lady Macbeth of Mtsensk in Leningrad in 1934. In between we stop at Handel’s Rinaldo in London, Mozart’s Le Nozze di Figaro in Vienna, Verdi’s Nabucco in Milan, Wagner’s Tannhäuser in Paris and Strauss’ Salomé in Dresden.

Venice dection of the exhibition Opera: Passion, Power and Politics. Photo: V&A

The visitor steps into a dimly lit passage way that introduces him/her to the Venice of the 17th century. A buzzing city by the sea, where the trade market is flourishing and rich merchants and sailors seek pleasure and entertainment alike. One of them is the emerging opera. Public opera houses not only showed off the owners’ wealth but were also a profitable business. The city’s carnival already provided a good ground for entertainment and an eager audience. Pictures, instruments, costumes, accessories, scores, maps, letters and stories bring time and place to life. For example that there was a blurry line between female singers/performers and courtesans, and paitings often showed musicians with well-shaped bosoms as in the picture The Viola da Gamba Musician.

London section of Opera: Passion, Power and Politics. Photo: V&A

Handel’s London of 1711 shines with an enchanting replica of Italian stagecraft that shows a scene from Rinaldo: Il Vostro Maggio in which a ship crosses a stormy sea inhabited by mermaids. Rolling waves, changing light moods and moving clouds give the perfect illusion of the journey.

An interesting note is that theatres often worked with retired sailors, who were experts in handling the ropes that are a vital part of the rigging system backstage. Alongside we are introduced to influential people of the time such as Queen Anne, who supported the art. We also learn what controversies the Italian-style opera caused in London and why the story of Rinaldo resonated with its audience.

Vienna section of Opera: Passion, Power and Politics. Photo: V&A

Although opera is now regarded as highbrow, in Mozart’s days it was less so. Of course, it might not have been an entertainment of the masses as we understand it today, but back then it was part of popular culture as Mozart makes clear in his writing. After the success of his Le Nozze di Figaro in Vienna in 1786, he visits Prague and remarks that the songs of his opera are just sung everywhere.

The exciting thing about this exhibition is that it allows you to discover the periods and explore the relationships between the operas and their times and find out why they were so revolutionary – an aspect we nowadays don’t associate with this art form. It gives a cunning insight into social history, for example when the servants in Mozart’s Le Nozze di Figaro receive the same dramatic value as their masters rather than just being comic figures. Verdi’s Nabucco in Milan in 1842 captures the Italians’ desire for independence while striving for national identity and unity. Strauss’ Salome, which premiered in Dresden in 1905, presents a woman with her sexuality, which shocked the public. Freud’s occupation with hysteria and psychology made headlines at that time. Almost 30 years later in Leningrad, a woman’s sexual desires are still a hot topic in Lady Macbeth of Mtsenk. However, despite the new image and emancipation that women experienced in the 1920s, the fact that the main character kills a few men along the way to be with her lover did not sit comfortably with Stalin’s image of the Soviet Union that he wanted to create and the opera was banned.

Leningrad section of Opera: Passion, Power and Politics. Photo: V&A

In addition to the wider picture, the exhibition also positions the operas in the context of their composers’ lives. Its strength is also that it does not burden you with mountains of information but offers short and easily digestible notes on the wall – like a scrap book, where the bullet points are spelled out. That refers to the time as well as to the operas, where it is explained why this opera is so significant.

There’s music, too, of course. What would opera be without it? It comes through headphones. Yet it’s hard to take in all the fascinating exhibits while listening to music, if you are not familiar with the subject as in my case. Opera admittedly does not belong to my pastimes, so the music is only sampled in short extracts.

Nevertheless, the exhibition is highly recommendable as it makes opera not only accessible to an opera ignoramus like me, but apparently also appeals to connoisseurs. So, you don’t need to be an opera expert, or even a fan of the art form, to appreciate this exhibition, which itself has the grandeur of an opera.

It was curated by Kate Bailey and realised in collaboration with the Royal Opera House.

The exhibition is on until 25 February 2018.

By Sabine Schereck

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Naomi Paxton speaks to the creators of The Blue Hour of Natalie Barney

Sex, affairs and literary wit are at the centre of The Blue Hour of Natalie Barney at the Arcola Theatre. Barney was an American poet who moved to Paris in 1898 and ran a literary salon for over 60 years. She lived an openly lesbian life, counting Romaine Brooks, Renée Vivien and Dolly Wilde  among her many lovers.

Frances Bingham wrote this one-woman-play, which is performed by Amanda Boxer. Naomi Paxton spoke to both after the opening night and discovers how they brought this witty, adventurous and courageous woman to life.

The Blue Hour of Natalie Barney runs at the Arcola Theatre until 11 November and is available as a book.

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Exploring Moominland – Review: Adventures in Moominland

Midnight blue Moomin posters along the escalators on the underground invite you to visit a magical realm: Moominland. This realm can currently be found in the form of an immersive exhibition at the Southbank Centre as part of its Nordic Matters season. It’s aimed at children, but grown ups can enjoy it just as much as it tells the life of Moomin-creator Tove Jansson (1914-2001) and how her experiences influenced her writing.

To join the Adventures in Moominland, as the exhibition is called, you’re asked to follow a tour guide with a small group of fellow travellers. Through the opening of a gigantic book, we step inside the world of Tove Jansson… There we are welcomed by Moomintroll, joyful music and a narration with the familiar voice of Sandi Toksvig: We’re going on an adventure dear / to a very special place / it’s bewildering and exciting / it’s full of twists and turns / we can keep one another company / whilst the fire burns, she tells us and, like a good companion, goes on to guide us through Tove’s world, together with the actual tour guide.

Sketch of Moomin, Tove Jansson; © Moomin Characters™

A tent on a sandy beach awaits us. Outside a cosy fire is crackling gently while we learn how the character of Moomintroll evolved. With the Moomins taking shape and Tove leaving the family nest, we enter her studio in Helsinki. At the centre stands an easel and, to the side, Tove’s palette and painting utensils are on display. The 19th-century-style room is furnished with a bookcase showing the magazine GARM for which she made illustrations, a desk and a record player. The soft sound of jazz fills the room, evoking the parties, discussions and laughter she shared with her friends as a young woman.

Adventures in Moominland – photo: Vic Frankowsk

But, with the Second World War raging in Europe, we soon find ourselves in a dark cave, reminiscent of a bomb shelter. These dangerous times are reflected in Tove’s books from the period, such as Comet in Moominland (1946). An enchanted forest with flowers and fairylights offers refuge. There’s also a suitcase hidden here – but not just anybody’s suitcase, it’s Thingumy and Bob’s suitcase, kept tightly closed – and only revealed to people they trust – because its content is a secret. Both characters always hang out together and those who can read between the lines know that this pair represents Tove and her lover Vivica Bandler at a time when homosexuality was illegal.


Moominvalley 1930-39, Tove Jansson; © Moomin Characters™

The journey takes us on to the island of Klovharu, where turbulence within Tove’s family is revealed and captured in the story of Moominpappa at Sea (1965). More sombre times lie ahead, and we are ushered into a cold winter’s night, where a full moon shines on to a snow-covered landscape with bare birch trees. Somewhere the chilling, lonely Groke is lurking. Yet, to hear that this creature is not so scary at heart is reassuring. During this cold season, when the Moomins normally hibernate, an unsettled Moomintroll sets out into the unknown in Moominland Midwinter (1957). Tove herself becomes involved with Tuulikki Pietilä, her long-term partner, who lets her see the winter in a new, more positive light. Tuulikki is also the inspiration for the character of Too-Ticky. After a long, adventurous journey we finally reach the comforts of Moominhouse, where the Moomin family is fast asleep and the little party of visitors quietly departs to re-emerge into the reality of the Southbank Centre.

Tove Jansson – photo: Per Olov Jansson

Sandi Toksvig is a clever choice of narrator as her familiar voice offers a sense of homeliness, but also fits, being from Denmark, into the Nordic Matters theme – not to mention her own sexuality, which chimes in with Tove Jansson’s. Her narration and quotes from Tove’s books stress the idea of storytelling and the beauty of words. The text itself is written by children’s author Laura Dockrill and is wonderfully complemented by what the tour guide tells us about Tove’s life and the way it is reflected in her books. The different rooms also show archival sketches of the Moomins and letters placed in glass cases that are built into the specific features of the place – be that a treasure trove, a rock or a cupboard.

Besides the magical imagery and poetry of the words, the jazz music is also a relevant feature of this exhibition. It represents Tove’s grown-up world as she loved jazz; and it’s refreshing to read that it was composed by Aki Rissanen and commissioned by Southbank Centre – so new work can be heard.

Adventures in Moominland lets you literally delve inside the wondrous world of Tove Jansson and her creations. The exhibition runs until 20 August.

More work by Tove Jansson can be seen at the Dulwich Picture Gallery from 25 October 2017.

By Sabine Schereck


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A Distant Close Up – Review: Portraying a Nation: Germany 1919-1933

August Sander, 1876-1964
Secretary at West German Radio in Cologne 1931, printed 1992
Photograph, gelatin silver print on paper
260 x 149 mm
ARTIST ROOMS Tate and National Galleries of Scotland. Lent by Anthony d’Offay 2010
© Die Photographische Sammlung / SK Stiftung Kultur – August Sander Archiv, Cologne / VG Bild-Kunst, Bonn and DACS, London 2017

Tate Liverpool dedicates two main exhibition spaces to the Weimar Republic with two artists, who couldn’t be more different: the photographer August Sander and the painter Otto Dix. For those, who grew up in Berlin, like me, he is best known for the triptych Metropolis from 1928. In orangey, yellow and pink tones it depicts a couple dancing to a jazz band; it is often used to represent the Golden Twenties. But none of that can be found here as this section of the exhibition is called Otto Dix: The Evil Eye, which shows a wide range of his work – but more on that later, as the show starts with August Sander.

Three rooms with neatly lined up black-and-white photographs in frames of the same size. It clearly reflects that the content of the images is regarded more as an object than a subject. The images comprise part of a study, which August Sander devoted himself to for the latter part of his life: People of the 20th century. 144 of the more than 650 images of the project can be seen here. Sander put the results into categories: The Farmer; The Skilled Tradesman; The Woman; Classes and Professions; The Artists; The City and The Last People.

The images show people on their own, with relatives or colleagues, in their home or work environment or a studio. The looks on their faces are often very serious, exuding a sense of dignity or honour at being photographed – and with regards to their profession, the pride they take in it, such as the Pastrycook (1928). These are no snapshots as they were taken by a heavy, large format camera, which demanded careful preparation. What is striking is that often even the children have the serious expression of 50-year-olds in their eyes. But there are exceptions, for example the Working class Mother (1927) who is smiling and proudly carries a very healthy looking child. Or strangely the image of a face of a recently deceased old woman – with its closed eyes it carries a peacefulness that captures more life than some others. Despite the vast spectrum of people August Sander covered, not many traces of LGBT life can be detected in this display. There is the picture of The Painter’s Wife (1926), showing Helene Abelen in long white trousers, a white shirt, a tie, very short hair that is combed back, about to light a cigarette, and easily mistakable for a young man. Nearby there’s a picture with her and her daughter, where she looks just as masculine, which makes you wonder and want to find out more, but there is not much to find. Another arresting image is the one of the Secretary at West German Radio (1931). She perfectly embodies the New Woman of that time: cropped hair, and despite her dress, she conveys a more male than female attitude. Her direct gaze is also rather unflappable, if not even slightly hostile. Her thoughts towards the viewer could easily have been: ‘What are you looking at? Never seen a woman before?’ The lack of LGBT figures might lie in the fact that Sander mainly worked in the area of Cologne, rather than venturing to Berlin, where they lived a more open life. Or maybe it tells us something else about him? Did he not want to show them? Did he not regard them as a section of society?

Otto Dix, 1891-1969
Portrait of the Jeweler Karl Krall 1923
Oil paint on canvas
905 x 605 mm
Kunst und Museumsverein im Von der Heydt Museum Wuppertal, Germany
  Photo: Antje Zeis-Loi, Medienzentrum Wuppertal. © DACS 2017.

The string of photographs is accompanied by a timeline starting in 1919 and ending in 1945. The font resembles handwriting, which evokes the idea of a scrapbook through the years, considering the images are placed in a rough chronological order and the texts include unusual nuggets of information such as the first long distance call in 1927 between Frankfurt and New York or the first Book Day in 1929 to promote reading. This is very much in line with Sander’s sober documentary style, which is a typical feature of the New Objectivity that dominated the art world of the Weimar Republic.

Among the many unknown faces who represent a facet of society, there are also a few prominent people such as the composer Paul Hindemith, the Dadaist Raoul Hausmann and the painter Otto Dix, which creates a link to the exhibition that follows, which offers a completely different aspect of the art of that period.

Otto Dix: The Evil Eye shows a variety of work that is lesser known and includes early graphic design work from the years 1922-25, playful images of his family, 50 etchings of the war made in 1924 that are not for the faint-hearted, and portraits painted in oil.

While Sander looks at society’s underbelly by taking photographs of beggars, cripples and blind people, Dix presents prostitutes in garish colours and all shapes and sizes. The reality of that period seems to scream with pain to cope with the nightmares of the First World War, which he experienced first hand. In the section Life Undiluted, there is no conventional beauty but a strong vision of the way he experienced the post-war world around him, for example in Exotic Brothel (1922). But there are also more traditional portraits such as the one of the photographer Hugo Erfurth with his dog (1926), which has a very static look in his eyes like the ones in Sander’s portraits. Of more interest however is the Portrait of the Jeweler Karl Krall (1923), which allows the sitter’s sexuality to shine through with a female waistline, sensuous lips and a ring on his finger. It sets itself apart from all the other portraits, in which either women or strong men are depicted. It’s refreshing to see. Altogether, the Dix exhibition is more difficult to navigate your way through. The work is grouped into different themes and it is not clear, in which order they are supposed to be seen to make sense of or provide an insight into his work.

Putting both exhibitions next to each other stresses just how differently the two artists responded to the world around them. While Sander created a body of work that aimed at timelessness by just documenting what he saw and using materials, such as large plates, which would endure, Dix heavily interpreted the world around him with strong colours and shapes and almost completely different subjects.

Both exhibitions provide a close up of the time: Sander because of his range and ability to capture the world precisely with his camera, and Dix because of his uncompromising view of how he saw the world, where one often feels he was bang in the middle of a scene. Yet both retain a distance, too. While Sander’s characters often seem remote and lifeless in their seriousness, Dix’s characters are often so alienated in their depiction that it keeps the viewer at bay.

Neither of the exhibitions celebrate the Weimar Republic as the Golden Twenties that we are familiar with or point to the liberty it brought to many people, but they show us a darker side that we should be aware of too.

Portraying a Nation: Germany 1919-1933 is on at Tate Liverpool until 15 October 2017

Sabine Schereck

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Singing Suzy Solidor – Review: All I Want Is One Night

Jessica Walker as Suzy Solidor
Photo: Jonathan Keenan

Tall and blonde, French singer Suzy Solidor beguiled men and women alike in her club La Vie Parisienne, which was one of the hottest spots in 1930s Paris.

In her new show All I Want Is One Night singer Jessica Walker delves into Solidor’s life and explores her on and off stage passions. Dressed in an admiral’s uniform, Walker commands the stage from the very beginning. We first meet Solidor in her later years, sitting in her own antiques shop and posing for a portrait by Swedish artist Lindstrom, played by Alexandra Mathie. Although known and remembered as a singer, Solidor reveals that antiques were her first love, discovered during her relationship with the antiques dealer Yvonne de Brémond d’Ars, when she first came to Paris in the 1920s. As she reminisces, she slips into a cream-coloured evening gown and takes us back in time to the height of her fame.

Solidor came from St. Malo on the north coast of Brittany, and Jessica Walker portrays her as someone who clearly enjoyed life: she delights in songs, poems and flirting with both female and male audience members. There is always an air of playfulness and possibility – the themes of ‘sea, sex and sailors’ are evident in many of her songs and for Les filles de St. Malo (The Girls of St Malo), one of her greatest hits, Jessica Walker has not only translated the lyrics into English to make them more accessible, but also retained some of the French verses, giving us a flavour of the original poetry of the song. Solidor lived an openly lesbian life, and we meet some of her conquests, among them a shy Baroness, and the painter Tamara de Lempicka. She created the most iconic image of her, which is captured in a style typical of the 1930s. Solidor had many portraits taken, mainly to decorate her club with, which is reflected in Amanda Stoodley’s beautiful set.

Throughout, Walker is skilfully accompanied by Joseph Atkins on piano and accordion, and shares the stage with Alexandra Mathie and Rachel Austin, who appear as various figures from her past – family, friends, rivals, and lovers.

All I Want Is One Night is an evening of song, poetry, love and lust, and the worthy rediscovery of a major player of the French cabaret world.

The show found a perfect home at Wilton’s Music Hall in London before it moved to the Hope Mill Theatre in Manchester, where it runs until 9 July.

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