{"id":11369,"date":"2020-02-20T17:49:55","date_gmt":"2020-02-20T17:49:55","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=11369"},"modified":"2020-02-24T14:21:58","modified_gmt":"2020-02-24T14:21:58","slug":"my-mixed-day-at-mtfest-the-assassination-of-katie-hopkins-soapdish","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2020\/02\/20\/my-mixed-day-at-mtfest-the-assassination-of-katie-hopkins-soapdish\/","title":{"rendered":"My Mixed Day at MTFest: The Assassination of Katie Hopkins & Soapdish"},"content":{"rendered":"\n

It\u2019s Theatre Thursday!\nToday we are (finally) looking at two works in progress I saw at MTFest a week\nor so ago and hoping that creatives make the necessary fixes as needed.<\/em><\/p>\n\n\n\n

Let me first state for the record that MTFestUK is a\nphenomenal project, a weeks-long showcase of new musical theatre works and\nworks in progress. In a city where new musical theatre talent and ideas can\neasily take a backseat to big shiny commercial ventures at the expense of\nartistry, this platform gives a much-needed boost, hopefully towards a\nfull-fledged production, to creativity and originality. London\nneeds to nurture more original and innovative musical theatre and more\nundersung talent, so this festival rocks. <\/p>\n\n\n\n

I had time to see two shows during this festival, The Assassination of Katie Hopkins<\/em> (AKH) and Soapdish<\/em>. I had low expectations for the former, as it\u2019s a new-to-me creative team and it sounded either silly or too much and I just didn\u2019t know about it. I had high expectations for the latter since it came from Stiles & Drewe and had a cast of super recognizable names. As they say about expectations or assumptions or what have you, the results were the exact opposite: AKH (I wish it abbreviated sensibly to ASS because that\u2019s what she is) was incredibly impressive and has stuck with me, where Soapdish<\/em> was almost offensive to me as a human person and is the latest entry in my How to Fix Your Show series. Let\u2019s start with the good.<\/p>\n\n\n\n

The Assassination of Katie Hopkins<\/h2>\n\n\n

Extremely relevant politically and socially, ASS<\/del> AKH shows the aftermath of the imagined murder of Katie Hopkins, notorious far-right political commentator, English Trumpian, racist, bigot, stupidhead, and all around c-word. On the first consideration of this fictional event you\u2019re like \u2018eh all in a day\u2019 but you know, it\u2019s still a murder, and that\u2019s bad. The show follows several threads of narrative post-event, with interweaving lyrics and melodies to show the connectedness of \u2018different sides\u2019 and all of our lives. There\u2019s young intern Kayleigh (Bethzienna Williams), tasked with researching Hopkins for a human rights charity and finding herself somehow propelled to the spotlight as she sort of takes up Hopkins\u2019 mantle. The path of this young lost person getting swept up in right-wing fanaticism in order to find her foothold in our society seemed so authentic, and it was cool (I mean not cool but you know cool) to see the radicalization of a girl for a change.<\/p>\n

Other storytelling threads involve the increase in harassment for people of color who had nothing to do with the murder, as is the sad but super predictable result, like post 9\/11 bullshit. One such target is Shayma (Maimuna Memon (who we LOVED in Ghost Quartet<\/a><\/em><\/span>, put her in everything)), a paralegal at a big law firm who expects better from people but feels like she\u2019s the only one recognizing so much of the tragedy happening constantly. Shayma has a history of being \u2018problematic\u2019 at her firm, because she was sexually harassed by a bigwig and got him fired, so she\u2019s on thin ice because that\u2019s how that works. (The firing is the only hard to believe part of this show, since big law firms love to just pay the victims hush money so they don\u2019t have to discipline \u2018important men\u2019. Happens super frequently it\u2019s astounding. FUN WORLD.) She serves as the voice of most conscience-having people, wondering if we are taking crazy pills as the rest of the world seems to move on from enormous tragic events after a single breath. The whole show gives a good voice to the idea of empathy exhaustion, an aspect I found quite moving.<\/p>\n

I hope that in the full show, Kayleigh\u2019s journey to the right-wing spotlight is shown as more of a progression rather than a jump, since that journey is really believable and important to discuss. I hope Shayma is given more to do (I mean just let her sing the whole time) to show the interplay of her story with the rest, because as it stands, her song about slaying dragons after a tube incident could be cut, as it didn\u2019t flow with the rest of the show as I saw, but if it\u2019s woven more fully into the narrative it would be great because that song was forking fire. A lot of the music (by Matt Winkworth and Chris Bush) is wonderful, actually, and a lot of it is haunting. There was one point when Shayma was singing the list of names from one horrific tragedy and she said \u2018Victor\u2019 at the same time someone was singing the word \u2018victim\u2019 and I almost gasped, it was gorgeous. I cannot wait to see this show as a full-fledged production; I think it has the potential to be incredible.<\/p>\n\n\n

Soapdish<\/h2>\n\n\n

Boy oh boy, you big man, you boy. Based on the 1991 Sally Field movie, Soapdish <\/em>is about soap opera darling Celeste Talbert who is America\u2019s sweetheart onscreen and a real b word offscreen. Her younger costar schemes to knock her off her perch and become the star. And there\u2019s a secret love child involved. So this all sounds super fun and should be ripe for the romcom musical treatment, but so far, this show felt way too amateur. I wouldn\u2019t be so blunt about these sorts of progress report showcases but given the talent involved, I expected much more refined work. They need to chuck the score out the window and start over (but keep the two instances of good rhymes \u2013 future with suture and Brecht with expect; those were good). It was like rough draft of Mean Girls <\/em>songs (and that\u2019s saying something since the final version of Mean Girls <\/em>has like one good song). No song passed the smell test.<\/p>\n

Also, the lead character of Celeste (Louise Dearman) needs to be reconsidered. The whole thing is that she\u2019s an awful monster in real life \u2013 at least that\u2019s what the preshow introduction said \u2013 but she didn\u2019t seem like a bitch at all; she just seemed sad and pathetic knowing that her days were numbered as she gets older. So after the score, my second big problem is that there is no consistency to the lead character. Why should we be interested in her younger costar\u2019s attempt at a coup except to say that like, it\u2019s kind of sad?<\/p>\n

And that brings me to the biggest problem. This younger costar Montana (Laura Pitt-Pulford) uses the promise of sex to get the producer, David (Richard Dempsey), to go along with her shenanigans. I get that this was the movie plot, in 1991, but that is no excuse for having such a grossly sexist storyline. (See, e.g. Pretty Woman the Musical and how copying the movie is not an excuse to be shit<\/span><\/em><\/a>.) Everything about this felt super icky and suuuper obvious that it was an all-male creative team. Look people, there\u2019s a way to do old-fashioned storylines, and even sexist storylines, without actually having your show feel sexist. It was infuriating, this whole thing, even though LPP says the name \u2018David\u2019 hilariously \u2013 but like most good jokes they repeat it ad infinitum and thus run it into the ground, destroying the fun of it. Actually the ruining of a great bit of comedy might be the most upsetting part. And of course the fact that London audiences will eat this shit up, and did.<\/p>\n

The only person who comes out on top is young Alice Croft, who has a voice like baby Laura Osnes and honestly I cannot wait to hear her sing full (improved) scores. <\/p>","protected":false},"excerpt":{"rendered":"

It\u2019s Theatre Thursday! 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