Review of ‘Homo Alone’: “A tale by Macaulay Cock-in”

The most beloved Christmas movie classic is given a twisted twist on the London stage through this camp parody revision playing at The Other Palace’s Studio until the start of the New Year. Guillermo Nazara shares his views on the show, to let us know if this tale of a homo is worth the FOMO.

Nothing says Christmas more than an enchanting Hollywood portrait of parental neglect. After all, who could ever resist the charm of an abusive household blaming all their faults on their preadolescent son? So brave, so wholesome – now that’s what family is all about! Okay, I promise I won’t be that bitter for the rest of this review… Why should I? One of my favourite childhood, adolescence (I wasn’t one of the cool kids…) and young man days (which is nowadays, thanks for your reassurance…) has been brought onto the London stage – and in no other way but a musical parody! What could possibly go wrong? Or upset me?

Believe or not, I wasn’t being sarcastic or passive-aggressive – but I applaud your perceptiveness (*cough*). Seriously, though, this is show is truly one-of-a-kind, and I mean it in the best possible sense of the word. Welcome to Homo Alone, a heartwarming tale about a naughty, blondie, cutie, twinkie… 8-year-old left behind by his own relatives as they depart for a trip to Paris. Abandoned in the harshness of his 10-bedroom Chicago mansion (seriously, the older I get, the more I understand that meme…), he will learn a lesson of maturity as he sets himself to defend his house from two unwelcome visitors – and lets his spunky, grown-up self blossom through a substantial collection of softcore gay porn (it’s still a kid-movie-inspired show).

Penned by Bobby Delaney and Jodie Prenger, the piece is structured as a traditional musical – taking themes from both famous pop anthems as well as the original picture soundtrack, and rewriting their lyrics so they fit into the narrative. What’s impressive is how flawlessly polished the whole thing looks.

As a spoof, one wouldn’t expect more than a few easy twists on the source material (the London scene hasn’t set its standards too high in that field lately). In reality, the entire product functions with absolute perfection. Not only does every number serve their purpose so excellently, but they all also come with superb timing (something truly important in every aspect of life…) – building a journey that works utterly well from a dramatic perspective, as well as a musical angle.

You won’t be able to stop laughing all through the performance. But at the same time, you will have thrills, shivers and even tears by the moment Kevin reprises his “I want song” – proving its staggering ability to connect with the audience with complete naturalness, apart from the creatives’ deep understanding of the craftsmanship involved in musical theatre. It is, in fact, better outlined than many other new titles we’ve been offered recently – and that feels tremendously refreshing, and also terribly concerning.

Beautifully staged through Louie Whitemore’s picturesque set design, and wonderfully enhanced through Chris McDonell’s splendidly intricate lighting, the production totally succeeds at making a studio montage feel like something much more complex and elaborate. There’s attention to detail put into every spot, and every inch of it is handled with utmost care. The result is therefore a joyous blast that goes on forever and ever and ever, bringing so much fluidity to what, in essence, feels like an ebullient, ever-shooting spectacle.

Directed by Alex Jackson, the cast’s infectious energy is positively the best element in the entire rendition. Even if the script was painfully unfunny, you couldn’t help bursting into laughter – not even they can! With only 4 actors featured, their multi-role transformations are quite incredible, but it’s the exceptional comicality that they so effortlessly bring into every character that makes their interpretation so deliciously enjoyable.

With all of them flaunting astonishing rapport, the two biggest mentions go, on the one hand, to Allie Dart as Kate (the mother), who steals the show on almost every moment she comes onstage through her extraordinary hilarity, as well as Elliott Evans as Kevin, playing the part with sensational rizz and electrifying stamina. Sadly, though, there’s a major, and highly noticeable absence in the company, as Piers Morgan is not featured in his original role as the Bird Lady.

Exciting, alluring and exceedingly hysterical, Homo Alone ends up coming on top of its 90 predecessor with a magnificently written and even better delivered comedy that’s bound to give its viewers nothing but a hard time forgetting what a terrific experience they’ve been put through. Finishing as a very strong competitor to yesterday’s 5-star winner, the show has genuinely achieved the impossible – as this may be the first time I give two production in a row the highest rating. It wouldn’t be far-fetched to consider that, maybe, the kindness and generosity of the Christmas spirit has finally penetrated me, and I just find it so disgusting – the kindness bit, that is.

All pictures credit to Mark Senior.

Homo Alone plays at London’s The Other Palace until 5 January. Tickets are available on the following link.

By Guillermo Nazara