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A delightfully camp, pop musical extravaganza that knows exactly who its target audience is, with brilliant performances and creative staging. Summary
Rating
Excellent
Hot off a buzzy run at Edinburgh Fringe Festival, Pop Off, Michelangelo! has arrived in London. Writer Dylan MarcAurele cleverly blends historical fact with fiction in this queer re-imagining of the feud between Renaissance art giants, Michelangelo and Leonardo da Vinci.
Laugh-out loud, queer-coded dialogue is matched with fun, catchy songs, strong performances and… a vaping Pope. The concept is creatively staged by director Joe McNeice and the first number, ‘Let Me Be Your Renaissance Man’, sets a playful tone from the off. Choreography is stylistic and striking, complementing the upbeat, poppy opening very well, and this is a constant throughout.
Mike (brought to life by Max Eade, who leads the show wonderfully) and Leo (embodied by a scene-stealing Aidan MacColl) are best friends and realise they are both gay. Upon learning the world around them rejects their very existence, they set out to become the greatest artists in Italy, with the goal of receiving the Pope’s (Paul Toulson) patronage and changing his stance on homosexuality. Leo proudly showcases his book of sketches and inventions along with an obsession with actress Marisa Tomei, whilst Mike focuses on sculpture. As they enrol in art school and begin to navigate this ruthless new world, they befriend fellow student, Silai (Conn McGirr) who helps them settle in.
The whole cast seem at home within the material, keeping up with the energetic choreography, whilst delivering great vocals across the board. However, Eade and MacColl’s chemistry is the beating heart of the show, as is their wholesome brotherly friendship, making their inevitable turn to enemies hit harder. ‘When You Met Your Son Jesus’ showcases Eade’s vocal and acting prowess, a sweet scene in which he attempts to connect with God.
The direction to have Mike chiselling away at his new masterpiece here could be elevated further with more movement. Similarly, the choice to place in the aisles the beginning of the scene wherein the Pope hires Mike to paint the Sistine Chapel means that a lot of dialogue is lost and both actors are not fully lit.
Set design is simple but effective, consisting of white columns arranged by the actors during scene transitions, along with mosaic tile patterns adorning the floor, providing a visual reminder of the ancient setting.
The subplot scenes deliver many standout moments. Savanarola (Lucy Carter), based on a real-life preacher, attempts to unearth homosexuality within the local artistic community. Carter does well, serving as the antagonist of the story. There are the expected jokes aimed at the Catholic Church, with Toulson’s self-obsessed, vaping Pope being a comedic highlight.
Maiya Quansah-Breed steals the show with her take on Marissa Tomei during ‘Pick me Girl’. Mike learns that Leo is to be executed for sodomy, Marissa Tomei appears, like an apparition, to guide him in how to save his friend-turned-foe’s life. Quansah-Breed belts out beautifully, Mike jumps on her back, they then ‘fly’ amongst clouds stuck onto sticks, carried by the cast. This show doesn’t shy away from being silly; it dives in headfirst and I am here for it. It’s also packed with pop culture references from The Devil Wears Prada to Mean Girls and The Office to Dakota Johnson’s viral lime moment from her Architectural Digest house tour.
MarcAurele’s sharp, clever script is complemented by McNeice’s vivid, detailed direction that brings this world to life. It is clear that significant time was taken in developing character and plot and this pays off. With tweaks to staging and sound (due to mics cutting out a few times throughout) and a bigger space, this show would be chiselled to perfection. Pure queer joy.
Written by: Dylan MarcAurele
Directed by: Joe McNeice
Pop Off, Michelangelo! has completed its current run.
