FULL FRONTAL DIVA. To 2 October.

London

FULL FRONTAL DIVA
by Donn Short

Finborough Theatre To 2 October 2004
Tue-Sat 7.30pm Sun 3.30pm
Runs 1hr 40min No interval

TICKETS: 020 7373 3842
www.finboroughtheatre.co.uk
Review: Timothy Ramsden 12 September

Tight-gripping story of death and sorrow, its spread over many years suitably earthed by the monologue form.Go to the Finborough and you won't always see the refinement of London's major' theatres. Go, and you will find excitement in the repertoire, freshness in performance, and an intimate involvement with the stage action that could inject the soul into bigger, glossier productions. Above all, when there's a show like Millionth Muse's Full Frontal Diva, go to the Finborough.

In one structural respect, it resembles The Sixth Sense; a late revelation re-assesses much that's gone before. Though the 3 monologues of which it consists aren't interlinked, each throws new light on our understanding of the death of a gay teenager in a respectable neighbourhood near Toronto.

The story unfolds over years hence its subtitle The forgotten history of a dead queer', with its restrained anger. In 1969 teenage Tommy Appleton looks through a ventilator in the floor of his room on the egregiously conventional Mrs Appleton nudging hints his mother's way that Tommy's brother Donny drowned himself through shame at being gay. Outside, Mrs Appleton's cherubic choirboy son Kenny sings with virginal purity, to Tommy's annoyance. He's annoyed at all the Appletons, their dog included.

What Tommy sets up is explored and subverted in two subsequent scenes, from their neighbour Jimmy McHugh, angrily imprisoned in 1980 for the least of his many crimes. Then through the diva himself, grown-up Kenny, revealing all about the macabre past in 1990 as he dresses in his drag disguise, acquiring authority through his barbed stage-act.

Donn Short successfully explores fear and vulnerability, using delayed explanation. Some revelations seem sensational - opportunistic, deliberate wow' provokers, rather than growing convincingly from the characters. Yet mostly there's the dramatic power of gradual, unforced revelation, reflecting the character of each speaker. There's certainly power in the final image of childhood innocence revisited with stark knowledge.

Simon James Green's production builds its force through restraint and contrast, reflecting the writing's moods. The move towards intensity is well-played by Grant Orviss as youthfully curious brother, Paul Oliver as callous criminal and particularly Paul L Martin as the dragged-up persona of someone who grew up with little love or understanding.

Young Kenny: Max Tuohy/Calum Rogers
Tommy Gallagher: Grant Orviss
Jimmy McHugh: Paul Oliver
Appleton: Paul L Martin

Director: Simon James Green
Designer: Keith Lodwick
Lighting: Alex Watson
Music: John Trent Wallace

2004-09-15 01:27:06