Posts Tagged ‘Pleasure’s Progress’

Review – Will Tucket’s “Pleasure’s Progress” – Linbury Studio

September 22, 2010

I went to Pinocchio, I went to Fairies, and yet still I came marching back to the Linbury for Will Tuckett’s latest, “Pleasure’s Progress.” I was tempted by 1) new work 2) salacious topic 3) short running time. At worst, by the time I hated it, it would all be over, and then I’d probably have something raunchy to distract me, right?

Gah I was wrong in so many ways. First, the running time (90 minutes), was longer than I thought, though it wouldn’t have mattered if I’d been enjoying myself rather than staring longingly at the people who snuck out early; instead, I was wondering just how long they could drag this damned thing out. Second, rather than being raunchy, this was just crude, with a masturbating monkey, people constantly feeling themselves up, puerile jokes a la people running together sales pitches for candy and almonds so they could say,”Lick!” “My nuts!” (and “finger” “my muff,” don’t ask), and so on. There was an extended story about a whore, starting from her arrival in London to her death of pox at 23, but it failed to be juicy … just sad. (A series of extended jokes about an impotent man did at least hit the comedy note.)

And oh the choreography. Tuckett’s movement, again and again, just looked like an accident, like the people on stage were about to bump into each other and tried to make it look good. Every now and again I noticed some fairly complex grouping that showed the maker’s hand; but none of these things felt like dance. I do not understand why the Royal Opera House keeps giving this man choreographic commissions; it seems driven out of a sense of pity, or perhaps a need to fulfill contractual obligations.

Not all was a loss. The costuming was good, the woman playing the nymphomaniac had a truly pleasant voice I was sad to have miked, and I had a chuckle or two during the song “You’ve Got the Clap.” The song “Drunk for a Penny” (about gin, of course) and the scene surrounding it was genuinely touching; but the rest of the evening I would have chucked as carelessly as the pissed bawd did her baby. All of the singing, costumes, and references to high culture (Hogarth) in the world couldn’t give this show coherence; it is a complete failure and I sincerely hope that after its short run it never again sees the light of day.

(This review is for a preview performance that took place on Wednesday, September 22nd, 2010. It runs at the Linbury until Sunday, September 26th. Per the web site it’s almost a year until this show is actually formally opened; best of luck fixing it in the meantime.)