Claudio Macor’s historical play returns to the London scene in this new production playing at the recently opened Stage Door Theatre until mid-summer. Guillermo Nazara shares his views on the show, to let us know if this explosive gay-themed drama in movie making is either a blast or a bomb.
As much of a cliche as it might sound, the notion is out there for a reason. Hollywood may be called a dream maker. But those dreams often come with a price. And that price is never paid by those who live that dream. Or at least, not the kind that audiences think they do… Tales about the dark and, to a great extent, actual face of the film industry are as common and overwhelming as the portraits Norma Desmond kept of herself around her house: wherever you go, wherever you look, they’re there. And it’s impossible to ignore them.
Last night, the still budding Stage Door Theatre opened its stage to its first-ever play, through the London revival of Claudio Macor’s historical recount The Tailor-Made Man. Presenting a story of personal struggle and self-belief, the show tinted the pub’s Victorian essence with the glowing sparkle of Golden Age Tinseltown – transporting us into that colourful area of black and white allure, where anything was possible when looked through the eyes of the silver screen. Anything, that is, but the honest love between two men – at least, according to the rules of big-fish producers.
A premise filled with passion, joy and turmoil, none of those elements bring hardly any uniqueness to the plot. Its inspirational side, however, does. Centered around real-life movie star Billy Haines and his long-term relationship with his boyfriend (the word partner has always sound too heteronormative-pleasing to me) Jimmie Shields, the play underlines the character’s determination not to condole by the morals of a judgmental society – refusing to hide his homosexuality from the public, and willing to turn his back on his professional purpose for the sake of a greater one: being who he really is; and most importantly, living it with happiness and satisfaction.
Bringing out some interesting themes throughout the narrative, focused primarily on the power of personal fulfillment over materialistic gain, the piece manages to provide us with an entertaining account which, at the same, accomplishes some levels of connection with the viewer. Nonetheless, it doesn’t seem to be enough, with some other pivotal topics feeling slightly overlooked and unable to exude all of its potential.
Though still compelling on some occasions, its ability to move and even haunt appears to be unfinished – a problem that may stem, on one side, from its structure (outlined in too linear a way and featuring some unnecessary scenes while forgetting some crucial ones), and the approach on the other. Though borrowing its title from the pre-Code film starring the show’s alleged hero, the piece is not (or should not be) in fact about him, but about the man who stood by his side and whose journey was always aimed to.
Despite using Shields as a narrator on a few moments throughout the performance (such a role, becoming more recurring during Act Two), the script doesn’t allow him to take the full command it requires to boost the intimacy of the story – thus, preventing the piece from entirely bridging towards the audience; an issue which could have been remediated had the rendition started with him, as well as his asides getting more frequent. In addition, some of the subject matters that gave fuel to the actual events are mentioned, but not sufficiently explored – stating the facts (like the homophobic establishment that dominated the world in that time), but not endowing them with enough introspection to understand the characters’ ordeal.
In any case, there’s a few praiseworthy components in the production, starting with David Shield’s well-integrated and generally effective set design, Aaron Clingham’s era-evocative compositions (including a nice Andrew Lloyd Webber tribute – no need to clarify which one), and Richard Lambert’s comprehensive design. Yet, the biggest mentions are deserved by the company, beginning with Shelley River’s energetic portrayal of Marion Davies (articulating her Hollywood-diva-style speech with remarkable precision), and finishing on top with Hugo Pilcher and Gwithian Evans in the lead parts of Billy and Jimmie – delivering an astounding rendition that excels through the electrifying, heart-touching chemistry they so naturally project onstage.
A beautiful tale of love crushing the clutches of bigotry, The Tailor Made Man sketches the path to an emotionally stirring experience that could have brought huge resonance to its visitors. Though not impeding it, it still has to find its way to enhance it. It’s a story of triumph and bliss. It’s a concept that exudes bravery and instills resilience. But none of those assets can be appreciated if the cost, fear and vulnerability that come before them aren’t given the same protagonism. Without proper loss, nothing can be earned.
All pictures credit to Peter Davies.
The Tailor-Made Man plays at London’s Stage Door Theatre until 31 July. Tickets are available on the following link.