{"id":10571,"date":"2019-07-25T02:35:37","date_gmt":"2019-07-25T02:35:37","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=10571"},"modified":"2019-08-13T14:56:01","modified_gmt":"2019-08-13T14:56:01","slug":"the-view-upstairs-at-the-soho-heartfelt-yet-uneven-tribute-with-potential","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/07\/25\/the-view-upstairs-at-the-soho-heartfelt-yet-uneven-tribute-with-potential\/","title":{"rendered":"The View Upstairs at the Soho: Heartfelt Yet Uneven Tribute with Potential"},"content":{"rendered":"\n

It\u2019s Theatre Thursday!\nToday\u2019s show is The View Upstairs, playing at <\/em>London<\/em>\u2019s Soho Theatre until August 24<\/em>.<\/p>\n\n\n\n

The best kinds of theatre tell a story somehow relevant to today, regardless of the time period or subject matter of the show, and get the message across in nuanced, powerful ways. In The View Upstairs<\/em>, Max Vernon\u2019s 2017 musical about the LGBTQ+ community, they\u2019re getting a lot right, but there\u2019s room for improvement. They\u2019ve got the emotion, the politics, the lofty goals of what they want the end product to do, and a game and talented cast, but the nuance and art of it need work to make the show as a whole sing. With all that emotional honesty at the ready, the show has the potential to be great with some focus on fixing the weak spots.<\/p>\n\n\n\n

Going into this production, the European premiere of Vernon\u2019s\nmusical that played off-Broadway in 2017, I didn\u2019t know what it was about. I\ndidn\u2019t even know it was a musical (best kind of surprise you could ever gift me,\nuniverse), and I definitely didn\u2019t know it was about the 1973 New Orleans arson\nattack on a gay bar called the UpStairs, the biggest, deadliest attack on the\nqueer community until Pulse. If you read that and thought \u2018they made that\nhorrible depressing story a musical<\/em>?\u2019\nthen you don\u2019t know the power of musical theatre to tell any and every kind of\nstory. The musical treatment feels right for this intimate, heartfelt play,\nwith it becoming overall a lovely tribute to the victims. However, it wasn\u2019t\ncohesive enough as a whole to be truly great theatre just yet. I feel like if\nthey were willing to make some changes at this stage (preview period baby!), it\ncan be.<\/p>\n\n\n\n

Roughly, the story is about a 2019 fab-u-lous young\ninfluencer named Wes (a fabulous Tyrone Huntley, like wow you are a star and\nmust be exhausted) who is trying to redefine and grow his brand by buying an\nabandoned building in New Orleans, the future home to his clothing\nline\/influencing products I don\u2019t know I don\u2019t understand instagram. The\nrealtor explains that some of the damage is the result of a fire, obviously the\nChekhov\u2019s gun of realtor comments even if you didn\u2019t know what the show was\nabout. I was like OH SHIT OH SHIT WE\u2019RE GONNA SEE THE FIRE I HATE FIRE AHHH\nWHERE ARE THE EXITS. Wes sings the best song in the show, \u201c#HouseholdName (I\u2019m\nsorry the # is in the name I have to do it), does some drogas, and suddenly is\nin 1973, his building now (\/then) a fun semi-secret gay bar filled with all\nsorts of characters. He\u2019s a little confused \u2013 is he tripping? is he\ntime-travelling? (Mantzoukas voice:) what\u2019s going ON?! \u2013 but quickly rolls with\nwhatever\u2019s happening. His rolling with the punches\/homies is uneven, because he\ndoesn\u2019t seem to ask any questions or do a \u2018wait, what?\u2019 moment, which is fine I\nguess, but then later in the show Wes begins a song with a lyric about how he\u2019s\nbeen freaking out all night trying to figure out what\u2019s happening and I was\nlike, um no you haven\u2019t? you were just kind of immediately cool with this?<\/p>\n\n\n\n

The cast of characters Wes drops in on in 1973 are enjoying\nthe UpStairs bar, a place where they can be themselves without worrying (too\nmuch) about the outside world. There\u2019s Buddy (John Partridge), the lounge\u2019s\npiano player (who reminded me so much of some old-timey musician but also<\/em> of Jack Skellington), a closeted\ngay man with a wife and family whose resentment comes out to hurt everyone and\nnot just himself, but for some reason no one seems to mind what an asshole he\nis. They mind that Dale (Declan Bennett), a clearly troubled man who needs\nhelp, is an asshole, but is he that much more of an asshole than Buddy? His\nsong was really moving; I just wish it (and others) weren\u2019t set up so clunkily.\n<\/p>\n\n\n\n

The talented cast all get some moments to shine, some more\nthan others, but some are miscast or mistreated. A standout for me was Cedric Neal\u2019s\nWillie, who gets the perfect balanced role of making both funny and poignant\ncomments while showing off his ridiculous voice. I loved Carly Mercedes Dyer as\nHenri, always reliable for belting her face off, but it was strange that she\ndidn\u2019t get a solo but Freddy\u2019s mother had two?? I mean wtf. I loved Victoria\nHamilton-Barritt in In the Heights<\/em>,\nbut her Puerto Rican accent did not work here, and the Ines character, mother\nof Freddy, has two too many songs. They bring the action to a screeching halt.\nAlso, she looks at oldest in her early 30s, so casting her as the mother of\nsomeone who looks\u2026also in his early 30s is beyond ridiculous. Yes yes actors\nshould be able to play whoever and whatever they want (just ask ScarJo) but if\nyou want to portray the emotional beats of a mother and son, they shouldn\u2019t\nlook like man + little sister who just came from church. <\/p>\n\n\n\n

But the most disappointing part is\nhow the pivotal role of Patrick is treated. Andy Mientus has come over from the\ngreat broad way to teach us how it\u2019s done over here, and while he himself is\nfantastic as always, Patrick is not fleshed out as much as the role should be.\nFirst of all, Andy, one of the best musical theatre performers of his type\nright now, is given the two worst songs to sing. They do nothing to show off\nhis voice; they kind of feel like first drafts. The second song was so close to\nbeing strong but it was clearly in the wrong key, and like, minor? Make it\nmajor and it would improve exponentially without hurting the song\u2019s message. As\nfor his character, Patrick seems like all the other \u201870s people, living their\nnormal lives when Wes just drops in on them. But at the end, he acts like he\u2019s\nbeen some sort of narrator or leader to Wes like forking Cuba Gooding Jr. in What Dreams May Come<\/em>. But he wasn\u2019t! But\nmake him one! It would be so interesting (and really help with cohesiveness) if\nthere was this constant thread of Patrick as narrator or guide. His talking to\nWes at the end makes no sense (especially his big joke line about being \u2018f-ing magical\u2019,\nthough funny) unless the character is retooled throughout the body of the show\nto actually be f-ing magical, some sort of guide through this memory. <\/p>\n\n\n\n

Although I wanted to ignore any problems and focus on how\nimportant this story was, the problems are too obvious. The transitions between\ndialogue and songs feel very amateur and clunky, with a lot of spoken moments\nbetween characters that might as well have set up the next song like, \u201chere,\nlet me sing about what I mean.\u201d It diminishes the flow of the story and the\ncharacter development to set it up that way. It kind of felt like Working<\/em>. It shouldn\u2019t.<\/p>\n\n\n\n

One more problem I had was the contrast they kept trying to\nforce between the community in the \u201870s versus today. There are sooo many\ncompelling differences to discuss, yet the focus seemed to be on how people\ntoday are vapid attention whores who just want influence online and strong\nbranding, at the expense of real relationships and love, and that the gay\ncommunity is purely and coldly transactional. That\u2019s true for Wes, clearly, but\nI don\u2019t see that as true for many people today. Yes, many spend lots of time\nforging internet presences, but most of them also have real lives, so that\u2019s\nnot a universal problem and shouldn\u2019t be treated as one. I mean maybe the\nmessage of the importance of community is just meant for like YouTube stars who\ngo to see it but I doubt that. It would be stronger if it focused more on Wes\u2019s\npersonal struggle instead of trying to blame an entire generation for the bad\nparts of the internet.<\/p>\n\n\n\n

This feels like an opportune time to point out one of Laughfrodisiac<\/em>\u2019s favorite \u2013 and defining \u2013 movie quotes: <\/p>\n\n\n\n

\n\"You<\/a>\n<\/div><\/figure>\n\n\n\n

I\u2019ve shared a lot of not-nice thoughts about this new musical but only because it\u2019s all there, all the groundwork, all the emotion, all the heart they need to make it magical. (Now I need to quote Cuba: \u2018I\u2019M ALL HEART MUFUCKA!\u2019) With a bit of work it can be great. <\/p>\n\n\n\n

INFORMATION<\/strong><\/p>\n\n\n\n

During early previews, the show ran 2 hours straight\nthrough, no interval. There were several moments were it would have been fine\nto break the show and have an interval, which is highly recommended so other\npeople don\u2019t get UTIs. Also, not worrying about keeping it to one act could let\nmore transitions be fleshed out fully.<\/p>\n\n\n\n

STAGE DOOR<\/strong><\/p>\n\n\n\n

The Soho doesn\u2019t really allow for\nregular stage-dooring, so you just wait outside the main entrance (as of now)\nfor actors who want to come out from the lobby bar to come out. Cedric Neal\ncame out first and was incredibly lovely and amazing, followed by Mientus who\nwas also really nice. I left before anyone else came out. I think they were all\nhanging in the bar so if you are cool and at ease in bars you could just stick\naround in there. <\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s Theatre Thursday! Today\u2019s show is The View Upstairs, playing at London\u2019s Soho Theatre until August 24. 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