Politics and unconventional love get mixed in this blasting comedy about Donald Trump’s presidential term. Guillermo Nazara shares his views on the show, to fire up some fake news on the most beloved man on earth.
To take the Trump administration seriously would be as crazy as calling Suella a gay icon – though we do have a fascination for villainesses and fading divas… or a combination of both terms. The attempts to ridicule one of the most controversial presidents in recent years have even preceded his rise to power. From cartoon series to Alec Baldwin’s impersonations on Saturday Night Live, the guy who wished he’d coined the word “fired” has been a subject (an easy target) for parody in almost every show dealing with anything remotely political. Now the nightmare is, so far, over (though Florida doesn’t seem to cooperate), his “spirit” (you get what I mean) has travelled to the London stage to recall the feats of his term. And yes, it’s undoubtedly a comedy.
Trompe L’Oleil (unarguably, a curious title) has landed on The Other Palace’s Studio Theatre with a bag of direct reality absurdity and spoofy bitchiness. A farcical take (though not too far gone from the actual thing) of Trump’s governmental shenanigans, the show combines a parody look on his trajectory with a parallel romance between a brainwashed conservative man and a flamboyant, alternative woman (in appearance…).
Subtitled as a queer love story, the show doesn’t fail to fulfill its promise: it’s queer indeed, in every sense. Surrealistic situations (some of them, beyond comprehension) pack this song and dance mockery on the orange-skinned tycoon. A premise that would no doubt work on paper, sadly it doesn’t develop the same appeal when placed under the spotlight – the problem stemming, primarily, from a wrong approach in its writing.
Despite featuring an enjoyable, sometimes truly catchy, score, both book and lyrics (all of them credit to Henry Parkman Biggs) fail to serve the piece’s intended purpose: to offer us a sharp, satirical vision on the much laughable bureaucratic status quo. Instead, the words and dialogues constantly struggle to make us react as an audience – trying too hard to deliver punchlines that not usually work, and avoiding the subtlety and surprising element any social caricature requires. Unfortunately, many of the scenes seem too childish as for how they’ve been put together – relying on twists that don’t help the plot advance, while also presenting us with too simplistic lessons that don’t add anything to its narrative’s resolution.
Directed by Blair Anderson, the production’s values are however the shiniest bit in the whole performance, starting with an excellent company that not only puts a huge amount of effort and commitment into the portrayals, but also manage to regale us with more than a few memorable moments thanks to their spotless vocals – all of them accompanied by beautifully orchestrated arrangements flawlessly played by their equally brilliant band. On the other hand, Justin Williams’s colourful design, combined with Jack Weir’s intricate lighting, create a compelling and much refreshing set of visuals way above fringe standards.
Parting from an exciting and, unquestionably, extremely funny idea, Trompe L’Oleil still needs to find its path so its potential is unlocked. Right now, it’s just been tampered with through a shallow take, but if the writers dig in deep enough they will be able to find the hidden gem that’s awaiting. But as all of them, it needs to be polished – in this case, through an exhaustive process. It has all of the ingredients to be remarkable – but as of now, much like its title, it’s just an illusion.
All pictures credit to Danny Kaan.
Trompe L’Oleil plays at London’s The Other Palace Studio Theatre until 15 October. Tickets are available on the following link.