“Who knew the world needed a two-hander musical about chemsex?”
Keeping on top of reviews is a challenge at the best of times, so throwing in a whole bunch of festival shows from the Vaults makes time management even more challenging. So I’m opting to round up shorter reviews of what I’ve seen in the week into a single post.
First up is Thom Sellwood’s Happy, the aforementioned chemsex musical and also a whole lot more. Constructed as something of a meta-theatrical experiment, it takes the form of a pitch for a new show, wrapped around the confessional outpouring of a man struggling to deal with the comedown from his last, successful, show.
Lounging in his East London flat and firing up Grindr on a regular basis, Thom (the character) is battling with ideas of self-worth and whether the notion of just ‘being happy’ is a false construct in a society only interested in selling us things.
On top of that, Thom (the pitcher) is dealing with the stress of his creative partner not turning up and though his friend Carrie has stepped in at the last minute to sing the songs, she’s barely up to speed. Thus comes in a second level of interrogation about personal and creative satisfaction as Thom and Carrie spar over his increasingly outrageous behaviour. It’s all perfectly pitched on the teetering edge of collapse, highly convincingly so and definitely one to look out for.
Written by Matt Jones and directed by Lily McLeish, the multi-lingual A Colder Water Than Here was disarming but beautiful, dominated by its specially designed light installation by German artists Hartung & Trenz which played with words and language(s) in a hypnotically beautiful way, its stories of immigration and aspiration, of hard lives escaped only to find hard labour, weaving a deeply fascination tale of a certain kind of hope that it feels imperative we don’t ever forget.