Morning:
3°c
BBC accused of having a 'culture of secrecy' after it refused to reveal how much it pays its top presenters and stars
More...
Precious is a new-style weepie but one that is much more bracing than depressing
Precious
Theatre
Ian McKellen is captivating throughout. He delights in the play’s gallows humour, yet is also maudlin and poignant
Waiting for Godot
Theatre
Slight quibbles notwithstanding, this will set the West End’s stock riding high
Enron
Utterly, utterly brilliant. You really are in for a treat
Though 'Trilogy' has won rave reviews, I personally found myself exasperated after about an hour
We went on a quiet sunday evening and the food was excellent, but the experience let down by the service and ambiance
London,
Fiona Mountford's rating
Reader rating
Dir: Lisa Forrell.
Cast: Melanie LaBarrie, Terel Nugent, Nadia Di Mambro, Gavin Ashbarry, Adam Bayjou, Julian Forsyth, Amanda Minihan, Amanda Posener, Anna Stolli
Description: A musical drama based on true stories, about the relationship between a South London prostitute and her young teenage daughter. Written by Brett Kahr, with book and direction by Lisa Forrell.
Trains: Tube/BR: Angel/Highbury & Islington 
Phone: 0870890 0149
Website: www.kingsheadtheatre.org
Email: info@kingsheadtheatre.org
Extra info: Party Hire
Murky madam: Melanie La Barrie is compelling as the brothel-keeper Desdemona
There’s a powerful school of thought that says musicals will be the branch of theatre that best survives the credit crunch. Their uplifting, feel-good spirit, so the reasoning goes, will keep persuading punters to part with hard-earned cash. The brains behind this theory have obviously never seen Rue Magique.
There have, of course, been unlikely subjects for song and dance shows before but none could even begin to rival a narrative that centres around the rape of a child prostitute on her 13th birthday.
To say this is a moral morass would be one of the great understatements of the theatrical year. We emerge feeling shaken and grubby, and also guilty for finding so much to admire about Lisa Forrell’s production. It’s slick and well choreographed, and Brett Kahr’s accomplished music and lyrics are performed by fine voices.
Yet a reminder of the disconnect between form and subject matter is never far away. The stirring gospel number This House is Clean is about the importance of disinfecting a brothel. The Viper’s Tale, performed by three of the brothel’s clients, has all the makings of a cult hit, as the sad sacks sing jauntily of how It sucks when you have to pay/ When you’re fat, masochistic or gay.
How we’d laugh, if only we hadn’t seen the terrified little girl they were lining up to screw.
Nadia Di Mambro sparkles with innocence as Sugar, the daughter of fearsome, agoraphobic brothel-keeper Desdemona (compelling Melanie La Barrie). As she knows how to read and write, Sugar doesn’t go to school any more, and her only meaningful contact with the outside world is with kindly, smitten Rem (Terel Nugent), who works in the local south London corner shop. He’s undoubtedly a good man. Sugar is even more undeniably three years below the age of consent.
How to round this off? With a glimmer of hope, for sure, but such an unholy mess cannot be made right with one final power ballad, as Kahr and Forrell try here. It’s murky, troubling stuff, which would make reading the balance sheet of Icesave a hoot in comparison.
Until 7 December (0870 890 0149, www.kingsheadtheatre.org).
Details are correct at the time of publication - please check with venue before booking.
[ 1 ] [ 2 ]
The subject matter may have been harrowing, but I personally found Rue Magique the most compelling musical I have seen for years. The wonderful singing and acting by the whole cast made a lasting impression and the whole experience was intensified by the intimacy of the theatre itself.
- Sue Garfield, London
