All the world’s a stage, because the saying goes, however right here at The Gate Theatre it is particularly the world of a black, homosexual man, made theatrically and provocatively seen in Director Tristan Fynn-Aiduenu’smasterful interpretation of Bootycandy. This is a satirical, semi-autobiographical work by author Robert O’Hara. It loosely tracks the lifetime of Sutter, a black, homosexual man, rising up in a difficult, contradictory world of misinformation, the place there may be eithrt no vocabulary to explain his expertise, or the language that’s accessible is insufficient. Why is his dick his bootycandy, and why is that phrase not within the dictionary?…
Rating
Excellent
Robert O’Hara’s semi-autobiographical story is an uplifting triumph, headed up by a supremely assured debutant.
All the world’s a stage, because the saying goes, however right here at The Gate Theatre it’s particularly the world of a black, homosexual man, made theatrically and provocatively seen in Director Tristan Fynn-Aiduenu‘smasterful interpretation of Bootycandy.
This is a satirical, semi-autobiographical work by author Robert O’Hara. It loosely tracks the lifetime of Sutter, a black, homosexual man, rising up in a difficult, contradictory world of misinformation, the place there may be eithrt no vocabulary to explain his expertise, or the language that’s accessible is insufficient. Why is his dick his bootycandy, and why is that phrase not within the dictionary?
The confusion of Sutter’s life is enacted within the type of a collection of bewildering and provocative scenes, articulated with flamboyance, aptitude and poignancy byFynn-Aiduenu. It’s a posh kaleidoscope of scenes that have interaction with all aspects of Sutter’s expertise, from pleasant campy pleasure to the darkness of suicide.
My mouth actually dropped open once I learn that the position of Sutter is Prince Kundai‘s debut efficiency. He is supremely assured, deftly tying the disparate scenes collectively. This man delivers all of it – appeal, vulnerability, disappointment and darkness, with flawless precision. The supporting solid are an equally thrilling, dynamic crew, clearly having fun with the present as they bring about enormous power.
Sutter’s theatre is positioned unmissably centre stage, acted out on, underneath and round an enormous platform which serves a number of scenes, maybe as a dance flooring, or the convention centre the place we study that the scenes we’ve simply watched have been written by the attendees. It opens up, at one level revealing 4 black ladies on the telephone, carried out hilariously by DK Fashola and Bimpé Pacheco. They are characterised brilliantly by their fast-changing wigs, sturdy accents and impenetrable dialect, whereas discussing whether or not Genitalia is an effective title for a kid.
Milla Clarke‘s excellent design work plays with black and gay stereotypes, offering fabulous retro outfits, and a Michael Jackson costume that hints at ideas of closeted homosexuality and the connections with paedophilia that society is prone to associate with gay men. Reminiscent of Branden Jacobs-Jenkins’ work, objects are charged with stereotyped cultural affiliation; the household consuming from McDonalds bins. Life is enjoyable and horrifying, complicated and contradictory.
Luke Wilson threatens to upstage because the unrepentant homosexual pastor, revealing his gold excessive heel boots and sequins beneath the gown. It’s an excellent supply of a superb script, each phrase of his hilariously absurd, excessive but deeply inspirational sermon of worth: “You ain’t gotta be afraid of who you are”. The message is taken into the viewers. Around this stage we don’t simply sit however turn out to be an lively a part of the congregation. We hear, study and turn out to be converts.
At instances the viewers are virtually voyeuristic. The stunning choreographed intercourse scenes between Kundai and the supremely gifted Roly Botha are balletic, highlighted by beautiful lighting work from Jahmiko Marshall. Botha because the ‘white man’ brings fabulous creepiness to their characters; as predator and prey, rocking a distorted stand-up routine, and because the crass white moderator at a convention of playwrights.
Sutter’s world accommodates ardour, need, magnificence, ugliness, darkness, but additionally pleasure. He reminds us that in the end if folks have been simply left to get pleasure from their bootycandy the world may be a greater place. It’s definitely higher for this manufacturing: an absolute triumph!
Written by: Robert O’Hara
Directed by: Tristan Fynn-Aiduenu
Lighting design by: Jahmiko Marshall
Sound design by: Duramaney Kamara
Movement path by: Malik Nashad Sharpe
Bootycandy performs at Gate Theatre till 11 March. Further data and bookings will be discovered right here.