By Jenna Corker
Whilst you may expect some theatre Divas to arrive late- Stacey, stuck in the grind of London traffic, affects none of these notorious characteristics as she flutters into the theatre, smiling from ear to ear with a compelling aura. It is her that ushers the audience to their seats and enters into light-hearted rapport from the start.
The Falsettos, which Stacy casts as the reluctant sequel to her previous work The Making of Bull, is the treasure box of Stacey’s own mind as she navigates us through this otherwise undreamed of world. It is an honest and consequently hilarious display of Stacy’s intimate reflection on depression, murder, reason, her mother’s mortality and post-life crisis.
The minimal set, made up of only one leather arm chair and a leather suitcase holding in it a tangled string of red fairy lights, allows the attention to stay focused on the star of the show, and her audacious character and theatrical gestures are never wanting.
The screening of extracts and looping of dialogue taken from The Soprano’s also fills the stage, helping construct some of the more bizarrely wonderful and hysterical points of the play. In one scene Stacy intermittently replaces words with body grunts in her attempt to describe the effects of menopause. The scene concludes with Stacy miming ‘you want the pussy? I got the pussy?’ being played on loop.
The story is charged with the audience’s laughter and Stacey’s bodied performance. As the story unravels loose ends and strong links send Stacy into a frenzy. The audience are invited on a quest to accompany Stacey on her search for reason. She flirts with the climax of the play until she finds her centre.
Turning to leave, Stacy walks towards her glowing light remeniscent of E.T.’s glowing heart, that is her cue to return home.
The Summer Sacred Season continues at Chelsea Theatre