Music theatre has in recent years
established a major presence on the Edinburgh Fringe (although this
year its dedicated venue in George Square has vanished). Yet 2010’s
likely hottest ticket in that department may owe only part of its
desirability to matters musical. There will be people booking for
Five Guys Named Moe because they
want to see Lester Freamon from HBO’s
The
Wire, who have no idea of Clarke Peters’ long and distinguished
music-theatre pedigree, nor yet who Louis Jordan was. Peters put
together this tribute to 1940s jump blues giant Jordan some 20 years
ago (it won an Olivier award in 1991), and now it has been revived for
its anniversary, returning to its home stage on the Theatre Royal,
Stratford East next month. The 90-minute sprint version on show in
Edinburgh does not lose much of substance; most compilation musicals
are not exactly burdened with profound, complex scripts. But we get the
point, and certainly the energy, as contemporary no-hoper Nomax is
visited in a drunken sleep with sage advice by figures from his
favourite Jordan records. Peters, as Nomax, lets the Five Guys
dominate, and after all this time Paulette Randall’s production remains
a zoot-suited slice of feelgood.
Some of Jordan’s numbers are casually misogynistic, but next door to
Five Guys on the Underbelly’s
Bristo Square campus is a show that does not realise its own flaws.
Lovelace: A Rock Musical will
attract late-night punters hoping for some drunken nudge-nudge
chuckles; they will be disappointed. This sung-through biography of
1970s porn legend Linda Lovelace, star of
Deep Throat, plays little for
laughs, which is admirable, but gets even fewer when it does try. It
does not stint in its account of the violent, chemical and sexual abuse
to which Lovelace was subjected, nor in its condemnation of her being
exploited as a sexual icon. However, in as much as this show is
entirely unauthorised by her surviving family, it hypocritically
indulges in exactly the same kind of exploitation itself. It is
composed by two women but “conceptualized” by a man, whose lyrics show
the metrical awareness of a breeze-block; a deep vein of unintended
irony runs through the whole project. This show – I use the following
term advisedly – sucks.
Written for the Financial
Times.