November 12, 2008
Written by Patrick Marber of Closer fame, Don Juan in Soho paints the ageless story of the licentious Lothario in a contemporary setting, playing out the character’s decadent games of hedonism and vice in the London district that embodies our modern obsession with sensation and thrill. Never preaching, never self-conscious, the physical action and humour are beautifully self-mocking, and the whole play is thoroughly enjoyable right up to the final, softly powerful scene.
Don Juan: a man who wishes to live only as he pleases. Played by Will Spray, the long, lean, well-tailored hedonist is both protagonist and villain; Spray’s performance is, in his character’s own words, ‘intoxicating’. The charisma and magnetic presence he brings to the stage is unmarred by any scar of abashment, even in scenes where others may have been sensitive to embarassment. To be able to keep dignity (in a manner of speaking) during a scene such as the hospital blowjob is commendable, and I heartily applaud all the actors involved. John-Mark Philo provides the necessary sidekick of Stan, a figure of comic relief, but possessing his own tragedy: a character more beleaguered than his master by moral conscience, but constrained by his own cowardice. The pair complement each other in their physical interaction as well as verbal banter, exploiting the wit and humour of the script to the fullest. Aside from some dubious irish accents, the performances from all the cast were strong, with special mention to Lucy Fyffe for the deliciously acted role of the tracksuit-wearing, blue-eyeshadowed Lottie.
The whole affair is a delightfully debaucherous, raunchy romp – at times suitably reflective, never slow, crammed to the brim with sniping humour and ironic wit. Vice is indulged and celebrated, and one is somewhat gleeful that Don Juan remains permanently and genuinely committed to vice until the end. Don Juan makes us in love with Soho itself, with his own sheer audacity and brazen need to live his own life as how he wishes, unimpeded by the morals of others. Lighting and sound deserve mention; spot-on for a first-night performance, sharp use of lighting enhanced the dramatic touches, and a great soundtrack eases the transition between scenes. Thoroughly entertaining, encaptivating, and the best thing I’ve seen in a long time. Go see it.
Don Juan: a man who wishes to live only as he pleases. Played by Will Spray, the long, lean, well-tailored hedonist is both protagonist and villain; Spray’s performance is, in his character’s own words, ‘intoxicating’. The charisma and magnetic presence he brings to the stage is unmarred by any scar of abashment, even in scenes where others may have been sensitive to embarassment. To be able to keep dignity (in a manner of speaking) during a scene such as the hospital blowjob is commendable, and I heartily applaud all the actors involved. John-Mark Philo provides the necessary sidekick of Stan, a figure of comic relief, but possessing his own tragedy: a character more beleaguered than his master by moral conscience, but constrained by his own cowardice. The pair complement each other in their physical interaction as well as verbal banter, exploiting the wit and humour of the script to the fullest. Aside from some dubious irish accents, the performances from all the cast were strong, with special mention to Lucy Fyffe for the deliciously acted role of the tracksuit-wearing, blue-eyeshadowed Lottie.
The whole affair is a delightfully debaucherous, raunchy romp – at times suitably reflective, never slow, crammed to the brim with sniping humour and ironic wit. Vice is indulged and celebrated, and one is somewhat gleeful that Don Juan remains permanently and genuinely committed to vice until the end. Don Juan makes us in love with Soho itself, with his own sheer audacity and brazen need to live his own life as how he wishes, unimpeded by the morals of others. Lighting and sound deserve mention; spot-on for a first-night performance, sharp use of lighting enhanced the dramatic touches, and a great soundtrack eases the transition between scenes. Thoroughly entertaining, encaptivating, and the best thing I’ve seen in a long time. Go see it.