Review of ‘Pop Off, Michelangelo’: “Building the next Cum-a-lot”

The London scene welcomes the world premiere of this new mega-camp musical paying homo-age to the two icons that defined the history of Italian Renaissance. Guillermo Nazara shares his views on the show, to let us know if this monumental piece manages to carve its chisel deep enough.

I consider myself very Catholic when it comes to homosexuality. That’s why, every Sunday, I pray to be blessed with the body of Jesus (I have a thing for Latin American guys), and I spread the word of God, and his son, every time I’m lucky enough to be touched by his grace… I mean, I do say ‘Christ’ a lot when I feel he’s getting inside me, to be honest. Yes, yes – I’m aware my humor may not align with everyone’s taste. Some may find it too thick. Some may think it’s a bit overwhelming. What can I say? I just have an urge to shoot my content whenever I can…

Let’s get down to business – and head right into matters… This week, London’s The Other Palace witnessed the first steps of a new super-gay musical – unheard of, right? Like flowers for spring… Take two fairies remembered through history as fierce rivals, but secretly sharing the strongest bond a friend could have, and you’ll get Wicked! To be fair, they acknowledged that. But this is actually a more poof-found tale. These are, in fact, the real super-fictionalized lives of Leonardo and Michelangelo – who, as much as they may sound like the name of the sauna next door, are actually the revered Renaissance men.

Welcome (and well-come, too) to Pop Off, Michelangelo – probably the queerest narrative the London stage has had since… Well, to be honest, they’re all a bit fag-tastic, aren’t they? It doesn’t take a genius to know that the most versatile individuals usually turn out to be gay… These two were no exception. One, the most talented sculpture of his time, as well as a highly accomplished painter (I can only imagine the wonders he could do with those hands of his…); the other, quite the epitome of a polymath. But both hiding an inconfessable secret, meant to be kept in the dark… room…

Parting from a rather amusing premise, which, through its light, fun approach, also manages to raise awareness and advocacy for LGBT+ rights, the piece (featuring book, music & lyrics by Dylan MarcAurele) delivers a highly entertaining and overall hysterical jaunt – silly and droll, but also able to push a few emotional buttons when it needs to; presenting us with a compelling narrative where plot and characters are easy to grasp, connect, and ultimately care about.

However, that admirable achievement does not prevent it from displaying some noticeable flaws, anyhow. Though generally boasting a deft understanding of the traditional musical theatre formula (which, in this case, manages to provide the account with organic flow… we’ve done that one already!), the repertoire could still benefit from some further development – with some songs feeling slightly rushed, as well as not exploiting their full potential; I wanted to say ‘squeeze’, but I’ve got the vibe this review may have got pregnant by this point… In addition, the lyrics, though sophomorically simple in intention, still lack some level of wit – making the jokes slightly predictable at some moments; and thus, compromising its effectiveness.

As for the cast, their rather infectious whimsicality, apart from the palpable rapport the whole company projects (they surely stick their fingers anywhere – especially during the finale…), are by far the strongest traits of their portrayal. It’s true, though, that there’s still work to be done, as a mild absence of stamina seems to hover over the renditions (particularly during the ensemble parts), while the singing requires some significant improvements in regards to both technique and pitch. Among them, the highest mention is earned by Paul Toulson as the Pope – showing off incredible timing, charm, and presence; and as a result, making of his appearances the most electrifying excerpts in the entire performance.

A nice first attempt at redefining history through the eyes (and holes… you know, the sockets… where you put the plug… oh, shut it… take my advice….), Pop Off, Michelangelo takes the piss (*smirk*) on the true events by concocting its own with delightful absurdity, while also bringing sentiment and value to its journey. Yet, some of its joints still demand some extra lubrication so they can make the complete experience more accessible, smoother, and, all in all, pleasurable. It’s capable enough of giving a fine opening, but it still needs to grow larger in order to make the fireworks happen.

All pictures credit to Steve Ullathorne.

By Guillermo Nazara