Joe DiPietro’s spunky play brings back the edging to the stage, in this revival production coming back to the Waterloo East for a limited quick shot run. Guillermo Nazara shares his views on the show, to let us know if this showering of fringe theatre gold is actually taking the piss.
So rarely do I find a show that gives me such a throb in every inch of me. Pounding me with its exceptional tools and handful abilities. Arousing every possible sensation within me, and resonating so forcefully inside me – leaving me with that mixture of fulfillment and gentle soreness that just those very unique, well-endowed ones can generate. Almost as good as having fun with a soon-to-be married “straight” guy a couple of days before his wedding. Not that I’ve done it… in a while. But let’s move in (I mean, on!). And let’s discuss the return (comeback just same too barely common to use… *sorry*) of the play that gives the utmost popularity to the English translation of my name.
F*cking Men has made it back. Well, it’s never stopped – just last night, I… Oh, right, I’m supposed to be writing about theatre – I’ve done it there too, but that’s only for paying customers… Oh, f*ck. Well, yes, exactly! That’s just what it is. Sort of, though. But let’s not be premature, and enjoy some fore-play talk (I’m just loving myself). Popping down to the London scene once again due to popular demand (I guess that will-y power is stronger that the sword… well, kind of the same, in fact), Joe DiPietro’s actually perceptive view into the trials and tribulations of everyday gay lives continues to plow its audience (as in sweep… though now that I think about it, the broom connotation doesn’t help make this look any better, does it?).
Anyway. Getting to the bottom of the subject (come on, that’s a good one), the success of the play goes beyond the fact that it’s themed about slumber parties, and that you get to see how talented the cast is (we do get the c*ck and the rock, in some way, we’re just missing the frock). In reality, it’s its writing that does the trick. Because it’s actually rather good. It goes deep and pushes hard – exploring the insights of many different relationships, and covering quite universal themes such as abusive homophobic backgrounds, personal struggle and age gap. The sex is just a guiding thread, flinging its pendulum from point A to B, to take us on a journey that’s as exciting and entertaining as it is introspective.
Directed by Steven Kunis, the production succeeds at delivering a highly dynamic, fast-flowing narrative (not that that is the best thing when you’re pulling up another type of show, but you see what I mean… you do indeed…). Featuring a simple yet very adaptable set design (credit to Cara Evans), combined with Alexander Lewer’s atmospheric lighting, the staging manages to create a rather compelling and intricate visual – moving seamlessly from scene to scene, and truly giving the feeling of displaying more than they’re really is (I know a few that should probably take notes from it – just saying *nail polish moment*).
Basically the same montage that opened (*smirk*) at this venue last year (boy, did I enjoy that piece of meat… I mean, the play – I like to call it meat), the only principal change stems from its whole (not gonna go down that road this time… well, I just did) new cast. With its four-handed (they’re skillful) cast flip-flopping from character to character, one of the biggest mentions goes to Jason Eddy, for his generally charismatic rendition ranging through roles which, though not exaggeratedly different, still achieve to have enough definition and individuality.
However, the greatest praise goes Joe Bishop, topping them all (I presume the vibe backstage is… amiable) through his incredible flexibility as a performer, delivering completely opposite parts while enriching them all with infectious energy and flair. One last acknowledgement must also be given to the gentleman sitting next to me last night, regaling us with a such a delightful display of screams and deafening laughter, I can just pity his neighbours every time he puts some of the play’s teachings into action.
A jock of a show to be ridden by, F*cking Men has bred one more dominant run through its dripping prick of genius. Funny at some points, solemn at others, and extremely engaging all throughout – DiPietro’s much versatile piece keeps lifting our spirits (and maybe something else) through its fluid (*cough*) dialogue and seamless storytelling. Penned a few years ago, but still able to entice and seduce (after all, who doesn’t like a cute daddy?), its resurgence in the fringe circuit only proves that still has much of a substance for viewers to taste… and even swallow.
All pictures credit to Michaela Walshe.
F*cking Men plays at London’s Waterloo East Theatre until 26 May. Tickets are available on the following link.