Review – Silence: The Musical – Above the Stag Theatre

I have to say, when I first heard a song from “Silence: The Musical” during “Blink – and You Missed It” at the Above the Stag Theatre in August, I had no idea that this was going to mark the start of a theme for six months of theater-going. Although I might have hesitated to see a musical version of Silence of the Lambs, as I am in fact terribly squeamish and quite adverse to the sight of blood, the very funny song in “Blink!” convinced me that I could easily go without getting squicked, and thus I said yes to the production at the Baron’s Court Theater in October. It turned out to be one of my two favorite musicals of 2009 (the other being the all-male Pirates of Penzance), with shockingly hummable, if generally unsingable (in polite company) songs, sharp characterizations, and a genuinely interesting story. And it was hysterically funny. So of course when I heard it was being performed again, even though a mere three months later, at the Above the Stag theater, I jumped on tickets (a good thing as it’s now already almost sold out for the run).

I have to say, though, I was quite surprised to have the show announced as the “European premiere” right before it started … had my trip to Baron’s Court been a dream? The front of house man (perhaps Peter Bull, artistic director?) insisted that it was the “full” version (some songs had been cut from the other?), and the website itself says this is the “European professional premiere,” which, well, I don’t know what to say, but I don’t really feel like it’s reasonable to call this the European premiere of the show given that it was really no more “fully” produced than the other one was, though this was decidedly actually the version that (more closely) matched the original ’95 NY Fringe Festival, as Christopher Gattelli is given credit as the director. This means that watching them both, I got to see this version as being what the director’s vision of the show was, as opposed to the Tom Murphy/Imperial Productions’ version, and I do seem to remember hearing at least one song I hadn’t in the first show.

Right. Review. Synopsis? Speech impaired wanna-be FBI agent, Clarice Starling (Tory Ross), is asked by irritating FBI man Crawford (Tim McArthur) to interview terrifying imprisoned serial killer Hannibal Lecter (Miles Western) in order to help draw out clues that might help catch current serial killer, Buffalo Bill (Fabian Hartwell). As she grows closer to Hannibal and closer to finding Bill, the question becomes: will she arrive in time to save latest prisoner, Catherine (Catherine Millsom), or will Lecter … or Bill … get Clarice first?

Now, this all sounds like it would be quite grim, but with cheery little songs like “I Wanna Size 14” (Buffalo Bill’s ideal girl) and “If I Could Smell Her Cunt” (Lecter’s paean to feeling human again), almost-tap dancing lambs (they clacked their little hooves together, which was good enough) and hit you with a two-by-four foreshadowing (the missing pen, the deaths’ head moths), it’s clear through and through that this is meant to be funny, and the occasional gory or grim bits are just Guignol ha ha’s (except for the pictures on the walls of Crawford’s office, I could really have lived without those).

The cast itself was good – the nice singing voices I now practically take for granted in London theater (crazy to think this was a “fringe” production given the professionalism of the cast – hard to understand why any of them were on “the small stage,”), good line delivery, etc. Tory Ross had a nice dry touch to her Agent Star that I really enjoyed, and Shakella Dedi as Starr’s best buddy Ardelia Mapp had a great scene-stealing moment when she ripped off her workout clothes to reveal a blue sparkly mini-dress that she worked within an inch of her life. Pins and pipes – can’t wait to see Dedi take a bigger role in the future, as she’s loaded with talent.

And yet, and yet. While I enjoyed the use of an all-lamb Greek Chorus, especially all Mikado-ized for Starr’s “telling it MY way” bit, I couldn’t help but compare this to the other production and find it lacking. Western may have performed Lecter as requested, as a one-dimensional nutjob, but I far preferred Tom Murphy’s better-rounded creep, who actually seemed like someone who COULD gain Clarice’s trust … before making her eat her tongue. And I missed the heavier development of both the lesbian subtext and sexual harassment of the Baron’s Court version, not to mention the tap-dancing corpse and the overplaying of the “high colonic appointment card.” So while Above the Stag produced a show I’d say would be a fun night out, it just didn’t hit the highs of the Baron’s Court version, which I considered unmissable. But, you know, I also had the hots for BC’s Buffalo Bill, Jame Gumb, and while Fabian Hartwell did do a nice job of tucking his junk and even wrote “Fuck me” on his abdomen, it was no comparison to the sight of all that twinkling body jewelry Jame put on display when he whipped off his kimono.

But I digress. This is certainly a fun and silly night out and well-priced at £15 quid a ticket, but with the other version so fresh in my mind I can’t as enthusiastically recommend it.

(This review is for a performance that took place on Friday, January 29th, 2010. Silence runs through February 28th and is already almost completely sold out: buy your tickets today if you’re the least bit interested.)

*Credits to the director for actually using a Safeway shopping bag, a nice touch of American authenticity that I and my two American friends appreciated. However, someone needs to be reminded that, when an American spells the letter H, it is pronounced “Aitch.” “H”aitch is strictly for Englishers – a small niggle in a nearly perfectly American accented production.

Advertisement

Review – Silence: the Musical – Imperial Productions at The Curtain’s Up Pub/Baron’s Court Theatre

THIS REVIEW IS NOT FOR THE PRODUCTION CURRENTLY AT THE ABOVE THE STAG. The review for that show is here – but you might as well read this as it explains a lot of what I’m talking about in the other review.

NOTE: THIS REVIEW ASSUMES FAMILIARITY WITH THE CHARACTERS OF SILENCE OF THE LAMBS which I knew even though I’d never seen it before ’cause I don’t like scary movies.

It’s not every night that you’re having dinner, casually admiring the hot guy two tables over, then find less than two hours later that you’re now able to say, “Wow! I got to see his junk!” But this was a special night, the night I went to see Silence: the Musical (as in the musical version of Silence of the Lambs), and the sexy, lanky redhead I was admiring was none other than “Buffalo Bill” in the show (Connor Brown in real life), and he had a very special number to sing with a title on the lines of “Would You Fuck Me Now.” And he performed it, ultimately, with his Beardsley print dressing gown (covet!) very much off and his lanky, tattooed, pierced body on. Phoar. Oh, and with his junk tucked between his legs, because, you know, looking like a woman is Bill’s shtick, not that the sharp eye wouldn’t have caught an eyeful (and apparently yummy Mr. Brown’s had more pierced than just his nipples).

And, really, wasn’t it such a rude show? Agent Starling (Charlie Cable) is groped regularly, makes fat jokes, and is mocked mercilessly for her lisp; Hannibal “the cannibal” sings “If I Could Smell Her Cunt.” There is nothing polite about this show in any way, right down to the poodle puppet (about which the less said the better). But really, if you’re not planning on seeing this show and having a good laugh then you’ve picked the wrong play to see – though I doubt anyone who would be attracted to it would be expecting a serious commentary rather than a stick in your eye parody.

I’m actually finding it hard to talk about how very well Silence worked in this tiny space. The show was inventive and fun, from the tap-dancing corpses to the face full of silly string to the use of a cut-out plastic mask for Lecter’s escape scene; but all that wouldn’t have added to a hill of beans if the cast hadn’t been so talented. Agent Starling had the looks and the moxie; while Bill was all sex and shamelessness. But the real star was Tom Murphy as Dr. Lecter himself, because with pipes like that he was a real treat to hear singing. I was reminded of the poor showing at Annie Get Your Gun (and for that matter Carousel). Murphy proved that, despite my fears, there are still apparently actors in London who can sing, though they’re being replaced on the West End with people who need microphones to amplify their tinny voices. And I can promise, you could hear the T that ended every single c**t that came out of his mouth. Mary Martin would have been proud.

I was also pleased that I’d somehow wound up at a musical where the words once again mattered, illuminating plot and character. Unfortunately (and this is my one complaint, though it was a problem far, far too much), in many scenes, especially where the actor had his back to the pillar that demarcated the two sections of audience (the stage was square and we each had a view from one side or the other) you could not hear what was being said, which was a shame as it was often funny and always interesting. It was also a problem for a few of the group scenes and the fault clearly lies on the electric piano, which just needs to be turned down a tad. I realize whoever set the sound levels probably has all of the lyrics memorized, but I don’t, and I would have liked to have heard them.

Overall, this was a brilliant night out (especially at £12 a head and with a two hour running time) and I recommend it heartily as likely the most fun musical on in town right now and CERTAINLY better than anything I’ve seen since Pirates at the Union Theater.

(This review is for a performance that took place on Thursday, October 22nd, 2009. It continues through October 31st. For more information see www.imperialproductions.org. I promise I’ll add in actors’ names once I can find them – any help appreciated as I didn’t get a program.)