Theatre review: See What I Wanna See

The plot of Michael John LaChiusa’s See What I Wanna See spans from mediaeval Japan to 21st century New York, which makes it sound like a David Mitchell novel (not that David Mitchell, the other one.) In fact the 2005 musical is based on three short stories by Ryunosuke Akutagawa, presented without an obvious connection, other than the general theme of different perspectives to the same events. The mediaeval Japanese story is “Kesa and Morito,” which kicks off each of the acts with the end of the affair between a married woman (Cassie Compton) and her lover (Mark Goldthorp.) We get a different viewpoint in each half, with an ambiguous ending that sees one or both of the lovers come to a sticky end. The vast majority of the show however takes place in New York, the first act’s “R Shomon” is a noir story set in 1951, when a gangster (Marc Elliott) confesses to raping a singer (Compton) and murdering her husband in Central Park.

Theatre review: Taboo

A show named after a seedy club gets revived in a site-specific production at a not-entirely-salubrious-looking club in Brixton. Original director Christopher Renshaw, bringing with him an original cast member (Paul Baker as Philip Sallon,) returns to Boy George's autobiographical musical Taboo. It's the early 1980s and straight(ish) aspiring photographer Billy (Alistair Brammer) moves out of his parents' home and in with his Siouxsie-esque girlfriend Kim (Niamh Perry.) The "landlady" is Sallon, and the other residents include a cross-dressing wannabe poet - Boy George (Matthew Rowland.) Billy is our eyes through which to relive a culture that fought against the austerity of a recession under Thatcher by creating flamboyant looks on a shoestring. The fictional Billy's story runs parallel with George's real history with drugs but the show is largely about bringing to the stage some of the iconic figures of the scene.