Review of ‘Grindr, The Opera’: “It sucks… in a different way”

The Union Theatre welcomes the return of this musical parody exploring the growth (meaning life!) of four men and their circumstances regarding the most downloaded app in the gay community. Guillermo Nazara shares his thoughts on the production, to let us know how well-endowed the show is.

Yup. You’ve read right. The most used hooking app in the history of mankind (that includes you too, engaged straight-curious) has been turned into a musical. Well, an opera – actually. The title is not an attempt to make it sound more sophisticated. Honestly, it’s camp AF (no pun intended). But truth is it does follow all the guidelines (top to bottom) to be considered that. Everything is sung-through in this one big, intermingled story dealing with four guys and their lust for sex… or love. But mainly sex. There’s a lot of sex. Not that I’m criticizing. I mean, it’s my job to give you hea- (f*ck!), MIND – give you a piece of my mind! And that’s all I’m going to do. Sorry if someone got overexcited.

They say that the longer, the better. I happen to agree. But on this occasion I think we’ll prefer it to keep it a few inches shorter. So I’ll be blunt and address the w-hole thing briefly. Writing a show about gays and for the gays may seem like an easy task, but not that rarely we encounter works that have attempted to please an audience that so obviously they’ve failed tremendously in delivering something digestible – let alone achieve their goal. Unlike the app, Grindr, The Opera is, indeed, a bloody fun ride! Heavily loaded with uproarious humour, but also some deep reflection on social issues – and with no invasive ads like its counterpart…

Catchy tunes, simple but witty, observational lyrics and a compelling plot depicting a reality we all (especially as gay men) will feel connected to in some way or another. Erik Ramson has pounded (no pun, cross my heart!!!) an incredibly amusing comedy with more subtext than just basic sophomoric jokes. But don’t worry, you’ll get a few of those too, big boy – and you know that I’m referring to your brain only. With the pacing moving almost as freely as its message, the sole flaw resides in a few short passages in the score – the recitative sections employing too ornamented melodies that do not provide the text with naturality, a problem broadened by the excessively martial drum accompaniment they’re usually given.

Directed and choreographed by William Spencer, the cast delivers their parts with great comicality and, more importantly, enganging charm (you may I ask the lady sitting in front of me as for that – or even if you don’t, she’ll let you know, I swear…). Among them, Christian Lunn is probably the most notable addition – thanks, in particular, to his more than enjoyable vocal renditions (I wanted to say oral but… well… let’s leave it there). On the other hand, Billy J Vale also makes a memorable impression, primarily through the naive tenderness he’s enriched his character with.

We came for the sex (yes, “came”, haha, grow up – I mean, for that to happen you need to….), and we stayed for the fun – the other fun. Grindr, The Opera is, in some manner, a cut (oops) musicalized version of similarly themed plays such as F*cking Men (review here – I’m aware two paragraphs earlier I was complaining about invasive advertising; but my page, my rules, b*tch). And it’s precisely its light but somehow insightful approach that makes it of it such a lively experience. After all, the thicker is not always the better.

All pictures credit to Brittain Photography.

Grindr, The Opera plays at London’s Union Theatre until 8 July. Tickets are available on the following link.

By Guillermo Nazara