Delving into the entertaining depths of undersung queer historic figures, new musical La Maupin proves to be a rip-roaring success on the Lion & Unicorn Theatre
“If anyone mentions cassoulet again, I’ll disembowel them with my toasting fork”
Whilst the Comte de Limoges may disagree, any present that mentions the deliciousness that’s cassoulet is a winner in my e book. It simply so occurs that Fantastic Garlands’ new present La Maupin is fairly darn improbable in and of itself as nicely. Posited as a folk-punk musical, it tells the story of the raucous life and riotous occasions of Julie D’Aubigny – a nun-smuggling, sword-fighting, opera-singing LGBTQ+ icon-in-the-making who, predictably, historical past has chosen to neglect. A multi-roling, multi-instrumenting firm of 5 take us the size and breadth of 18th century France as her very personal Javert-eque nemesis (stated Comte) pursues her and all of the whereas, an outrageously toe-tappingly tuneful set of songs set up this as a perfectly realised piece of musical theatre.
With a lot derring-do to pack in, the present – written by Olivia Thompson – is much less a historical past lesson and extra a private odyssey of a outstanding determine decided to do issues her personal approach, whatever the value. And as she battles towards any variety of institution figures, feckless guardians, drunken aristos, stuffy theatre managers, gropy tenors, there’s this unerring feeling of authenticity to her each motion as she continually rolls with the punches in a particularly unpredictable life. It is thrilling to look at – this swashbuckling with function – and London theatre debutant Frida Rødbroe is magnetic within the function, ferociously uncompromising however sufficient of a glint of their eye to make one assume it might be well worth the heartbreak to only throw your lot in with them too.
A big a part of that additionally comes with the gloriously genial rating. There’s a cracking sense of musical id at work right here, leaning into folk-inspired melodies that sound like they’ve been sung in Irish pubs for many years and so typically leaving you wanting to listen to them once more as quickly as they’re performed. The string-heavy instrumentation permits for clean switches from jaunty to tear-jerking, accordions, flutes, kazoos and one thing I didn’t recognise however beloved add factors of curiosity, counterpoint drives us to an exhilarating Act 1 climax, harmonies give goosebumps on the tender finish, there’s even Brandi Carlile influences on the chic letter to a misplaced love ‘Golden Girl’. The final scores I felt this enthused by had been Hadestown and The Curious Case of Benjamin Button they usually had been each high exhibits of their respective years.
Thompson’s writing additionally does a superb job in chatting with the second with a skilfully gentle however nonetheless thought of contact. A fantastically written passage sees La Maupin rail towards societal norms and assert her proper to resolve what identify she’s going to use. Another reminds us – as if it had been mandatory – that the Me Too motion has been wanted within the arts trade for hundreds of years now. And there’s a (probably coincidental) tip of the chapeau to the Bury Your Gays trope which factors out that typically, homosexual individuals just do die. Suzy Catliff’s course additionally brims with invention and innovation. Switching the already intimate auditorium into the spherical creates a splendidly convivial environment that feels so inclusive, the best way duels are depicted is pleasant, the general sense of play facilitated by Robin Soutar’s design works a deal with.
And she’s gathered a superb firm round Rødbroe. Olivia Warren, Megan Armitage, Katrina Michaels and Thompson herself kind an distinctive ensemble, flowing out and in of supporting roles and their tangled, diverse emotional connections to La Maupin, enjoying a number of devices with actual ability, and in addition dealing with the proximity to the viewers nicely. It can typically be slightly disconcerting to be so near performers however the heat right here, that inclusivity is so freely provided that it’s not possible to withstand the amour fou of La Maupin. I’ve already booked to go once more and also you’d be smart to e book as nicely. If I’ve something to do with it (and even when I don’t), I strongly suspect that is removed from the final we’ll hear of this improbable new British musical.