The Yard Theatre hosts the world premiere of James Fritz’s latest play, exploring the trials and tribulations of gay men in late 19th century England. Guillermo Nazara shares his views on the show, to let us know if this is a piece worth of an itch for.
Happiness is a privilege beyond any riches. And sometimes, wealth can found the grounds for our inner poverty – incarcerating us into our own self destruction. The old saying of an affluent family equaling old values may not be the most adequate when it comes to a time clutched by ignorance and prejudice, but it may add some numbers to the equation as for the pressure society can put on somebody regarding public opinion – especially, when that opinion concerns the head of state.
We often hear that it takes a lot to be a man. But it takes even more to be truthful to yourself. The story of Prince Edward and his alleged scandal in a Victorian male brothel has captured the imagination of both writers and audiences – allowing for gossip and speculation to lead to the most eccentric conclusions, from royal embarrassment to a suspect for the Jack The Ripper murders (thank goodnes for scapegoats…). Anything is valid when you’ve got the chance to ruin a person’s reputation. Anything, that is, but the core element that’s buried underneath: sympathy for the struggle they’re going through.
All of those themes are pointed and explored in The Flea, the new play that, last night, celebrated its world premiere at Hackney’s Yard Theatre. Written by James Fritz and directed by Jay Miller, the piece recounts the events surrounding the prosecution of male prostitutes and the investigation of their highborn clients. A thrilling, engaging premise filled with opportunities for both social and individual insightfulness, the attempt however results in a slightly bumpy outcome due to an incohesive style and a few wrong choices in its approach.
Presented half as an 80s glam rock farce, the other half as a serious 19th-century-based drama, the combination of genres fails to enrich the piece’s context – instead managing to fade its voice away as the work endeavours to find its own essence. Despite a few interesting, heart-warming moments dealing with the suffering of those who are not allowed to feel, the overall vibe is more of a shallow treatment – on rare occasions, permitting the viewer to actually bond and care for a bunch of characters that, had they been given the necessary introspection, could have become both moving and haunting.
In addition, though all the dots are connected throughout the narrative, the first act features too many components that are not key to its evolution – thus, slowing the rhythm down and detaching us from what’s important to the story arc. This is nonetheless improved by the company’s committed effort to give more soul and flavour to the material, with some of the actors’ portrayals delivered with brilliant timing and quite captivating presence. Among them, Sonny Poon Tip gives the most memorable rendition through his diverse and well-defined register in the triple role of Hanks, Barwell and Euston, while Norah Lopez Holden gets to shine under the spotlight in her brief, yet notable performance as Queen Victoria.
With a compelling (sometimes imaginative) set design by and alright lighting by , The Flea jumps from pros to cons on its way to theatrical fulfillment. Parting from a grasping plotline but unable to properly put it into action, the need for restructure and a well-established genre is crucial to endure its still potential success. If you want to go camp, go frank and further. If you want to go bleak, let its darkness unwind. Yet, mixing opposite styles may not always lead to the explosive aftermath the writers may have been after – but instead, a bit of a nonreactive formula.
All pictures credit to Mac Brenner.
The Flea plays at London’s Yard Theatre until 18 November. Tickets are available on the following link.