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REVIEW: Diary of a Gay Disaster

Published on November 8, 2024November 7, 2024 by ana7papasLeave a comment

One word: iconic.

They reclaimed the word disaster for fear of the outcome, but they didn’t need to because Rachael Mailer’s “Diary of a Gay Disaster” is nothing short of a hit musical that I want playing on repeat on my Spotify. Diving into the nuanced experience of all things queer this 70 minute show will have you laughing all the way through with its comical lyrics and outstanding ensemble.

“Diary of a Gay Disaster” follows Ellis as she navigates her way through a fever dream where she’s forced to confront different aspects of her sexuality by the Gods of Sapphic Desire. Along for the ride are Finlay and Mia (who are slightly reminiscent of an angel and devil on Ellis’ shoulders) and together all three make a dynamic and hysterical trio.

You have Ellis (Rachael Mailer) who plays off the nightmare she’s in with just the perfect amount of sardonic sarcasm. Then there’s Mia (Talya Soames) whose theatricality and cartoon-like temperament has you chuckling instantly. And lastly, my personal favourite, there’s Finlay (Kip Jackson) – demure, mindful and so discreetly funny that even the slightest reactionary facial expression had me in hysteria.

With song lyrics like, “Is she queer or is she just a hipster?” and “Which bathroom will you pee in?”, another highlight of Mailer’s “Diary of a Gay Disaster” is the music. Various queer topics are tackled through song – witty lyrics, gorgeous harmonies and a fun mix of genres – that make you want to sing along, but simultaneously hit home (“Special” in particular tugged at my heartstrings.) And whether or not you’re an audience member who is well-versed in sapphic desire, the artistry and entertainment value of the show stands for itself. Either way you’ll be laughing from personal experience or newfound realisations.

As I left Arcola Theatre I desperately searched for some sort of profile or link that would allow me to re-live the masterpiece I just witnessed. In fact, as soon as it ended, I wanted to rewind the clock and start it all over. Running until the 9th of November, a must-watch for anybody who considers themselves a musical lover – “Diary of a Gay Disaster” is a diamond in the rough that has just been unearthed and I can’t wait to see how far it goes. My only grievance is that there is no cast recording or album on any streaming platform that will allow me to learn all the words and obsess over.

REVIEW: Immersive 1984

Published on October 18, 2024 by ana7papasLeave a comment

A simultaneously entertaining yet eerie retelling of Orwell’s classic 1984

As someone who has always been amazed by how George Orwell’s 1984 has managed to stay truly relevant since its inception 75 years ago I was incredibly excited to see it in theatre format. It’s safe to say my expectations were high (especially when I found out it was immersive) and after 75 minutes of being assessed as a new party member I would say the show passed the test.

Hackney Town Hall takes centre stage in Adam Taub’s adaptation which creates the perfect administrative feel. This is a true selling point of the show and is something Pure Expression is known for as a theatre company considering all its productions are site-specific retellings of classic stories.

As a new recruit for the administration, audience members are directed to and from two rooms (both stairs and lift accessible) where the show takes place. Right off the bat, audience members are handed badges with specific numbers before the show begins and are greeted as said badge number.

As a timid theatre go-er who starts sweating at merely the word “immersive” I was curious (and anxious) to see exactly how immersive the experience would be. Luckily, all immersive elements are voluntary, but the cast still manage to evoke just the right amount of fear to be spoken to or picked on while still keeping it fun. From beginning to end, you are made to feel part of Oceania and the 1984 universe – which is not too far from our current one.

In terms of the story, the adaptation follows some key plot points (with some minor alterations) but ultimately is not a play by play of the novel. All to the show’s benefit as it keeps the material fresh for existing fans while still retaining the essence of the novel for audience members who are not familiar with it.

My one critique would be the seating arrangements where the show predominantly takes place. I understand what was trying to be achieved however I feel like at some points it is very difficult to see which is a sure-fire way to cause an audience member to lose interest.

Regardless, as someone who is familiar with Orwell’s 1984 or not this immersive retelling challenges what we consider to be the truth in today’s society all while providing the entertaining (but still creepy) element that is necessary for a successful show. Running from now until 22nd of December, join the party for a Halloween excursion or a pre-Christmas thrill.

REVIEW: Madwomen of the West

Published on August 7, 2024August 6, 2024 by ana7papas1 Comment

A lukewarm attempt at audaciousness with a splash of comedy.

Madwomen of the West promises “hilarity, outrageous opinions and unexpected wisdom” however after leaving Riverside Studios I wonder where in the show’s 90 minute runtime these promises are hiding.

This new comedy by Sandra Tsing Loh invites us to Claudia’s (Melanie Mayron) surprise birthday brunch hosted and attended by her three longest and oldest friends. The play allows us a peak into each character’s life and current crises to unveil how everything isn’t always as glamorous as it seems.

The staging is quite simple – a modern lounge area with a drinks trolley – as everything else is mimed or narrated to the audience. The breaking of the fourth wall to announce stage blackouts (with the lights very much still on) adds to the comedic value of the play especially when celebrity friend Zoey (Marilu Henner) shows up and her blackout announcements to the imaginary lighting crew are the only ones that are successful, to the other friends dismay.

Although the play has very American-centric jokes and plot points the script is slightly adjusted to a London audience – sometimes hitting the mark and other times missing it entirely. The script feels a bit long-winded and the first act drags until the “scandalous” topic of Claudia’s son being trans is brought up just before interval.

As mentioned, “outrageous opinions” is what we are warned to expect from Madwomen of the West and yet there was not one opinion or discourse shared that I am not already bored of hearing. The “sensitivity” of Millennials and Gen Z? Tired. The hassle of understanding and respecting people’s pronouns? Tired. Nothing is outrageous about these opinions, just repetitively problematic and dull. I appreciate the attempt at these topics, but the degree of disagreement amongst the friends is not strong enough to make the debate interesting.

Where the play most evidently falls flat is with its ensemble. Individually each actor has their own bragging rights in terms of performance (in particular the spicy monologue delivered by Marilu Henner) but between each actor the chemistry is few and far between. This affects the entire flow of the play and presumably is why it feels quite lengthy.

Overall, I was surprisingly disappointed as I expected much more due to the show’s success in Los Angeles and New York. Perhaps, I’m not the target audience which is why it’s not particularly my cup of tea or perhaps Madwomen of the West truly reads better in the West.