The View Upstairs
Reviewed – 25th July 2019
“It does all become a touch stereo-typed, and the crying scenes lead too predictably into the love scenes”
This year marks the fiftieth anniversary of the uprising at the Stonewall Inn in New York; widely considered to be the single most important event leading to the gay liberation movement and the modern fight for LGBT rights. We have come a long way as a society since then, but Max Vernon argues in the musical “The View Upstairs” that we still have a long way to go. He spearheads his argument by sending the central character Wes (Tyrone Huntley) back in time to 1973, overlapping past and present. We are reminded of the television series, ‘Life on Mars’ as Vernon’s script makes frequent use of jokes and dramatic irony about a future that the audience already knows, but which the characters of 1973 do not.
Sometimes the device works too well, and we are left with an overpowering sense of nostalgia for the past that conflicts with the intended message of the piece. Wes, a present-day fashion designer, is buying a burnt out building in New Orleans and, for reasons that are not remotely touched upon, he is transported back in time and he finds himself in the Upstairs Lounge; a real-life gay bar that was the target of a homophobic arson attack that took the lives of thirty-two people – the deadliest attack in the U.S. until the 2016 Orlando nightclub shooting, but one which was ignored by the wider American media and public.
The musical is a celebration of the regulars of the bar – a disparate band of odd folk sharing drinks and wisecracks in a kind of queer ‘Cheers’. Lee Newby’s lavishly ramshackle set evokes perfectly the time and territory we are in. As does Vernon’s score which is snappy and uplifting and, although not exactly memorable, stirs memories within ourselves. Presiding over the bar is John Partridge’s ‘Buddy’, the resident pianist who becomes ‘straight’ whenever he goes home to his wife and kids. Partridge cleverly conveys the mixture of resentment, embarrassment and liberation of the closet gay of that time. Other stand-outs are Garry Lee’s Freddy; burly builder by day and drag queen by night, and his biggest fan – his mother (a very watchable Victoria Hamilton-Barritt). Love interest Patrick, played by Andy Mientus, gives Huntley’s Wes a run for his money, while Declan Bennett’s bitter Dale injects a much-needed dose of menace. It does all become a touch stereo-typed, and the crying scenes lead too predictably into the love scenes. But we are eventually shaken out of any sense of complacency towards the final scenes, especially if you don’t know all the historical facts beforehand.
But what carries the show are the performances. A lot of numbers are packed into this one act musical but the energy and vocal agility of all the cast provide the spark that sets this piece ablaze, despite the dampening effects of some over-familiar moralising.
Reviewed by Jonathan Evans
Photography by Darren Bell
The View Upstairs
Soho Theatre until 24th August
Previously reviewed at this venue:
No Show | ★★★★ | January 2019
Garrett Millerick: Sunflower | ★★★★ | February 2019
Soft Animals | ★★★★ | February 2019
Angry Alan | ★★★★ | March 2019
Mouthpiece | ★★★ | April 2019
Tumulus | ★★★★ | April 2019
William Andrews: Willy | ★★★★★ | April 2019
Does My Bomb Look Big In This? | ★★★★ | May 2019
Hotter | ★★★★★ | May 2019
Citysong | ★★★★ | June 2019
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