Wednesday, 12 April 2017
Theatre review: 46 Beacon
Admittedly the creepiness might be largely down to the fact that, after a briefat the start of the play Taylor changes into a BURGUNDY VELOUR LOUNGE SUIT and I know it's set in the seventies but that's still no excuse for offending the eyeballs to such an extent.
Taylor and Coopersmith do manage to make the odd couple and their mutual attraction seem real though, making the whole evening a lot more likeable as they reveal more about what makes them who they are. But maybe it could have done with that bit of extra edge though, as it's too heavily filtered through romanticised memory. It opens and closes with narration from the present day, and apart from a brief mention in the intro that this is set before the days of AIDS, Alan's closing memories of how this was the beginning of a happier new life for him breezily gloss over the fact that he would have been in the thick of it a decade later, and if not sick himself would have certainly lost a lot of friends.
Of course not every play has to have a heart of darkness and Alexander Lass' production and his actors find the strengths in Rosenfield's writing; Coopersmith should be able to play the part in his sleep of course as it's two out of three in his Highly Specific Typecasting (gay and schoolboy; Jewish isn't specified although it's not ruled out either.) It's one of those plays that entertains enough while it's on, but the shying away from any darker side contributes to it being pretty easy to leave behind once it's over as well.
46 Beacon by Bill Rosenfield is booking until the 29th of April at Trafalgar Studio 2.
Running time: 1 hour 20 minutes straight through.
Photo credit: Pete Le May.