Review: Boys in the Buff, Golden Goose Theatre

Now in its eighth version, Boys in the Buff arrives at the Golden Goose as a well-established piece of fringe musical theatre. New songs have been added, including topical material touching on the craze for weight-loss jabs, but the show’s core premise remains unchanged: a group of men agree to perform naked, with one of them, Phil, deeply anxious about baring all by the end of the night.

In truth, that is about the extent of the plot. Thisis less a narrative musical than a revue, with songs loosely linked by the idea of male body insecurity. Numbers focus on different perceived physical flaws such as circumcision, obesity, acne and penis size, the aim being to celebrate male bodies in all their different forms. However, because each song comes back to the same message, that we should love our bodies as they are, the central idea wears a little thin and there is way too little tension to drive the show forward.

Musically, Chris Burgess’ compositions are clever and tuneful. These are numbers that would not be out of place in the West End. The lyrics, however, often feel like first-thought comedy: the humour needs to be mined much more deeply to have the impact I feel that it’s aiming for.

There are, nonetheless, standout moments. A post-interval song involving and about audience participation is a clever move. Anyone familiar with British audiences’ instinctive terror of being ‘picked on’ will recognise the truth beneath the humour. The fact that a real audience member is asked to begin undressing takes participation to its extreme and is handled with impressive comic control. Prospective ticket-buyers should also note that performance on Saturday 20 December is designated clothing-optional for the audience.

Tish Weinman, as the show’s compère figure, Maxie, is the evening’s standout. Performing in a drag-styled, maternal role, Maxie encourages the boys towards confidence and self-acceptance. Weinman has a superb voice and delivers the show’s biggest numbers with real authority. A torch song functions as an effective 11 o’clock number and is one of the few moments where some emotional authority surfaces. Again though, in an era where gender fluidity is something that everyone seems to have an opinion on, this is a missed opportunity to delve much deeper into a topical issue, to be braver and to offer the audience a fresh perspective and greater emotional truth.

Among the four performers making up the titular “boys”, Max Rizzo (Luca) brings natural musical theatre charisma and a strong baritone that cuts through occasional sound balance issues. Adam Norton judges Phil’s nervousness perfectly, his reluctance to undress providing the show’s only real dramatic impetus. Rowan Armitt-Brewster (Dan) connects easily with the audience through cocky eye contact and a well-controlled vocal performance, while Liam Bradbury as Richard also has strong moments, though some lyrics are lost beneath the music depending on seating position.

However, the show’s central argument about body diversity is undermined by its casting. Every performer is young, fit, slim and hairless: no wrinkles or beer bellies here! This visual homogeneity weakens the show’s claim to celebrate bodily differences.

Despite its premise, the show is ostensibly a bit of simple, camp fun with the (almost entirely) male audience here to hear some great show tunes and to see four naked boys cartwheeling freely across the stage in the show’s finale. This show is best appreciated in that light – this is frothy fun to lighten the mood of our dark winter nights, and nothing more.

Words and music by Chris Burgess
Directed and choreographed by Robbie O’Reilly
Designed by Alan Meggs
Musical direction by Aaron Clingham

Boys in the Buff plays at the Golden Goose Theatre until Saturday 10 January.