{"id":11795,"date":"2021-11-18T08:00:00","date_gmt":"2021-11-18T08:00:00","guid":{"rendered":"https:\/\/laughfrodisiac.com\/?p=11795"},"modified":"2021-11-18T16:07:09","modified_gmt":"2021-11-18T16:07:09","slug":"indecent-proposal-at-the-southwark-is-a-must-see-i-cant-stop-yelling-about","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2021\/11\/18\/indecent-proposal-at-the-southwark-is-a-must-see-i-cant-stop-yelling-about\/","title":{"rendered":"Indecent Proposal at the Southwark is a must-see I can’t stop yelling about"},"content":{"rendered":"\n

I know you won’t believe me because no one ever believes me (“should I use my invisibility to fight crime, or for evil?”) but the new musical adaptation of ‘Indecent Proposal’, now at the Southwark Playhouse, is one of the strongest original works London theatre has seen since ‘Six’ ended a decade-long drought. I know that is A QUITE THE STATEMENT, but I always have suggestions (demands?) and at least two full songs to cut after every show I see, because I want them to make it the best it can possibly be, but this time? I’m like Connie the hormone monster after Jessie first screams at her mother: <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Michael Conley and Dylan Schlosberg, the writer and composer respectively, have clearly worked to edit this show into a tight and riveting work. Can I just say, it is a TREAT to see something that doesn’t feel like a first draft. ‘Indecent Proposal’ passed all the criteria on my checklist that few shows concern themselves with, including: Does it seem like more than one set of eyes edited the book, and did they care if it passed the smell test? (I would honestly volunteer to edit books for free, this is how much the usual obvious lack of editing kills me.) Is the humor a race to the bottom or does it respect its audience? And crucially: was any of the storytelling actually improved by it being a musical or would it have been the same as a play? (Shockingly few musicals actually bother to address the baseline test for being a musical<\/em>.) Luckily, this one passed them all. The engaging music is used well, and Shakespeare would get a big old British boner for all this drama.<\/p>\n\n\n\n

What we get is an intimate, well-constructed musical adaptation of the 1988 book by Jack Engelhard (who am I kidding, we’re all thinking only of the 1993 Demi Moore movie) telling the story of Rebecca and Jonny, a down-on-their-luck-but-up-on-their-love couple living in Atlantic City back when it was seedy and decaying and full of unglamorous people (so, anytime) (but no it’s clearly still set in the late ’80s, from the fashun). They seem like decent people who need, and deserve, a bit of luck in the financial department. When Famous Rich Man Larry offers them a million dollars if he can spend the night with Rebecca, everything goes to shit.<\/p>\n\n\n\n

And the shit gets interesting<\/em>. The drama is more than whether they will accept or not, whether they could survive it, whether they have the footing to decline — although that is all handled with care and attention. It’s not obvious that ‘of course they should just punch the guy and call it a day!’, as a lot of us would shout. People who brush off their dilemma are fortunate enough to have never been so desperate. But surely empathetic people can feel for those at the end of their rope. You start to understand why these poor poor people would even consider it, no matter how awful it is. The interesting and nuanced drama comes from how their interactions subtly but markedly change, especially in their now-stilted communication, what they’re not saying and what they’re waiting for the other to say. Charlotte Westenra’s direction of Lizzy Connolly and Norman Bowman in their unraveling relationship is so sharp, and I adored how it seemed we were catching them in emotional moments that we weren’t supposed to see, and how often they would be powerfully Acting with their expressions even though only a tiny portion of the audience could see. I mean at one point I saw Jonny whisper “I’m sorry” into Rebecca’s ear even though I don’t anyone else could or did notice that. That is COMMITMENT TO THE PART and we love to see it. Lizzy stood out to me in that incredible revival of Sweet Charity<\/a>, and her talent and presence shine here. Norman Bowman is new to me (I know I’m sorry) and even though his forking forearm veins are their own separate character (jealous) I’m obsessed with his performance. He gives this great scrappy chaos energy, kind of like Billy Crudup in <\/em>‘The Morning Show’ (he is by far the best part of that show ps) but wiry and desperate, it’s so good. (He’d be perfect to star in ‘Memphis’ given what I remember of the original star who shant be named.) These actors are giving such deep and fine-tuned performances, so inhabiting the characters that it feels intrusive to be watching this couple instead of sending them to therapy stat. Instead of being about shock value of the main concept, they help make the show this intriguing portrait of a formerly annoyingly happy couple who are now doomed, no matter what.<\/p>\n\n\n\n

More than ever before (i.e. more than when I saw the movie as a literal baby), I realized that that’s the interesting drama at play: not that this jackwagon has the AUDACITY, or what’s going to happen to the couple we root for, but that Famous Rich Man’s power goes beyond the money he offers. His power is in his shameless gall in offering it in the first place. Because as soon as he opens his mouth, the damage is done. It doesn’t matter what they do next. They will suffer for what he had the impunity to suggest, because it’s just another game to him, despite it having the power to ruin normal lives. He doesn’t care. Honeybadger don’t care.<\/p>\n\n\n\n

As the rich man Larry, Ako Mitchell is a decent villain, but most importantly he sounds better than I’ve ever heard him. His first song has a humorous turnaround, as he’s performing in-universe and starts off nervous, but then he’s like ‘OH GUESS WHAT, I’M AWESOME.’ I really wanted to shout ‘oh shit Ako COME THROUGH’ when he belted those velvet notes but did not, which is good, because then I would have had to kick my own ass. I’m usually against the idea of relying on diegetic songs in musicals because it often feels like a half-assed way of giving characters something to do (see, e.g., all poor Lilli Cooper had to do in Tootsie<\/a>), but that’s not the case here. It works given the setting, and even without that, the structure of the musical numbers feels thoughtfully done, since the diegesis of the songs pays off in Act II when they aren’t anymore. And that long climax scene in Act II as the couple fights, with it’s motherforking STAGING as they shared inner monologues? It’s genius.<\/p>\n\n\n\n

The music is pretty good, never feeling out of place or out of character. And the writer has to be from the area because I have never witnessed such attention to detail. I literally almost gasped when they said something about how it’s almost 7pm so Jeopardy! would be starting soon! Who knows that but locals! And someone was wearing a Phillies shirt! And there was a Jets shirt because I guess they knew people in New Jersey are split between the two cities’ teams. If anyone had said ‘wooder’ I would have fainted.<\/p>\n\n\n\n

A lot of the ‘professional’ critics who need to get a life and\/or the stick out of their butts said they were aghast (clutch them pearls!) at the idea of offering money<\/em> to sleep with someone’s wife<\/em>, oh my lord farquaad. They were like, ‘oh this is a horrid, horrid show, pish posh, it’s simply positively indecent<\/em>.’ IT’S IN THE TITLE, NUMBNUTS. Did they have no idea going in? Or did they actively choose to be offended and make a fuss even though I thought British people HATED making a fuss. They also said Larry was too bad a guy or too unlikeable for making this offer. Is…that…not…the….POINT? Honestly, in addition to the marital strife, what grabbed me by the shoulders and shook hard was how much of this show made me scream TAX THE RICH! internally. Did they not see the part where he doesn’t pay the poor dying woman for his beer? Where he gives a homeless person a measly $2 and probably feels that’s enough charity for the year? The constant thread of noticing how easily Larry could save people’s lives was fascinating. He instead chooses to fuck with these two. He chooses VIOLENCE. He has such power and he uses it to put a disaster in motion with his words, how is that not interesting drama? There are all these poor, decent people who just need some help, like Jonny and Rebecca, and poor Annie (Jacqeline Dankworth, lovely) who needs a gd hysterectomy, and this guy could help them all and chooses not to. This show was a motherfucking ONION with its layers.<\/p>\n\n\n\n

This show has accomplished something really difficult in showing a very convincing and genuine-feeling intimate portrayal of this couple and what can happen when love is not enough to survive on. That a musical version of this kind of insane story told in this climate managed to provide such a compelling marital drama is what shocked me and why I’m so effusive in my praise for it. Noah Baumbach could never.<\/p>\n\n\n\n

ALSO. The accents were good. I KNOW!<\/p>\n","protected":false},"excerpt":{"rendered":"

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