Theatre review: After the Act

Anti-LGBTQ+ legislation whose phrasing is so vague it seems to have been drafted by people who don't understand any of the words in it may be recent news in the UK, but unfortunately it's hardly without precedent: That sense of déjà vu comes from Section 28 of the Local Government Act 1988, which passed on a wave of "won't somebody think of the children?" moral panic and ended up, in practice, banning teachers from acknowledging to their students that gay people existed, even when those students were clearly dealing with a crisis of their own sexuality. The latest of David Byrne's (not that one) transfers from the New Diorama to the Royal Court deals with Section 28's toxic legacy, but while it's a subject I think is always worth revisiting and educating people on, for me Billy Barrett and Ellice Stevens' After the Act, a play with music composed and performed (with Calie Hough) onstage by Frew, feels the strain of expanding to a bigger stage.

Theatre review: Cry-Baby, The Musical

Not actually a Jemini jukebox show, Adam Schlesinger (music,) David Javerbaum (lyrics,) Mark O'Donnell & Thomas Meehan's (book) Cry-Baby, The Musical is in fact an adaptation of the 1990 John Waters film. Perhaps not the most obvious candidate to be turned into a musical, given that the original film already was one, but in terms of story it's a good candidate to follow Hairspray to the stage. Another trashy piss-take of the myths of mid-20th century Americana, this one sees the teenagers of 1954 Baltimore divided into two groups: The rich, preppy and virginal Squares, and the poor, rebellious and horny Drapes. Allison (Lulu-Mae Pears) is a Square, but she secretly wants to be a Drape, especially when she meets their bad-boy leader Wade Walker (Adam Davidson,) known as Cry-Baby because the last time he cried was when both his parents were sent to the electric chair for a crime they didn't commit.