When I told my friend I was going to see the musical of But I’m A Cheerleader, she said, ‘Wait, is that the one with the lesbian and the conversion therapy boot camp?’ Yes, yes it is.
Based on the 1999 cult classic film of the same name, I managed to catch the show at the tail end of its run at the Turbine Theatre. I don’t see many musicals (though I have seen Heathers and will soon see Legally Blonde), so I’m not exactly a musical critic. But I have a few thoughts.
If you’ve seen the film, you’ll know it’s very stylised—and that lends itself for adaptation to the stage. Everyone is in orange and browns until the lead, Megan, is sent to ‘True Directions.’ After that, it’s all pink and blue. Because of course it is.
Where do I begin? This is a two-woman show about the failings of church attitudes towards sex and sexuality, complete with parodied worship lyrics, a chicken wire wedding veil, and vagina hand-puppets.
I got to see the Beside Ourselves Collective, with Kate Mounce and Eleanor Young, at the ‘Out of Control’ conference organised by Natalie Collins in March 2019. The conference had gathered a number of Christian speakers and artists to discuss gender violence and the church, with Natalie enthusiastically chairing and uttering words like “vagina” and “clitoris.” This play was performed just after lunch and with its savage commentary on purity balls and abstinence-only education, it was a fabulous fit for the conference.
But more than that, the show took all my emotional armour away, evoking buckets of tears and reams of hand-written notes which I pressed earnestly into Kate’s and Eleanor’s hands before I scurried away home.
Yeah, I didn’t really pay attention to the speakers in the afternoon.
Anyway, the play has finished its tour, but I still figured it would be worth writing up what I made of it. Its subject matter is very much in my blogging lane.
So, I recently went to see a play called “Endless Second.”
As with much theatre, especially niche works from emerging writers and artists, there’s a good chance that most people who read this review won’t actually get to see this play. Which is a shame, given how good it was.
Still, I want to share my thoughts, because it’s a fantastic example of creative story-telling that shows sex and consent at their best. It also shows non-consent at its most misunderstood and offers a narrative for how abusers might take responsibility for their actions.
Very near the end of our conversation you asked me what I think of porn.
You asked me this, knowing that I don’t masturbate. You asked me, knowing that I’m a Christian and committed to my husband in a lifelong, monogamous relationship. And you asked, knowing that a lot of my good friends are strongly anti-porn.
For a moment, I hesitated. I wondered what I could say, or how I could say it, that would be congruent with what I believe, but wouldn’t be an affront to you.
You, after all, are very different to me.
You masturbate frequently. You earn money reviewing vibrators and dildos on your blog! You’ve gone from agnostic to atheist, you have little love of the institution of marriage and you’re polyamorous. Meanwhile, you’ve got plenty of friends who really quite like porn.
The live-action Beauty and the Beast isn’t a redemptive fairy-tale any more; it’s a high-fantasy romance. And I hate to say it, but it feels very muddled in places.
Last night I saw the film as part of the ‘Disney Concert Experience’ at the Odeon in Leicester Square. I’m really glad I went, and I loved the performances, but I have very mixed feelings over the film.
The release of the live-action Beauty and the Beast is barely a few days away. If you’ve read any of my series comparing the 1991 release with Fifty Shades, you’ll know that I consider the animated Beauty and the Beast to be a masterpiece of story-telling that speaks powerfully and truthfully about redemption. However, this means I’m very nervous that I’ll be monumentally disappointed by the new version.
So far, I’ve managed to see two different trailers for it in the cinema. (This has never happened to me before; and it only happened this time because Hidden Figures and TheLego Batman Movie were just too appealing to miss.) Even though Disney are using all the same colours from the 1991 animated film, and they’re reusing the music, and, and, and… it’s already clear they’re making a lot of changes. And I’m not sure I’m happy with them.
The wardrobe’s line about how “the Master’s not so bad once you get to know him” has been given to Mrs Potts. Mrs Potts’ face is at the side of the teapot instead of at the front.
Why? Why did they do this?
The change that really grates is the fact that Maurice is imprisoned for stealing a rose and not because he comes to the castle searching for shelter. I can make some guesses about the reasons for this, and I’ll save judgement until I actually have a chance to see the 2017 version, but I’m frustrated that we’ve lost the parallel that Maurice had with the old woman seeking shelter right at the start. I just… sigh.
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