Matt Loveranes
It’s always difficult to review shows that have a lot of personal content in them, the stakes seem to be higher for the performer and sometimes it is hard to criticise a show’s faults for fear of criticising its author’s personal experiences. Thankfully in this autobiographical romp by Sam Brooks, there is enough craft to show that theatre can be an effective avenue to show greater personal truth.
The concept of Stutterpop is simple. Brooks tells different chapters of his life and loves as a gay man. The catch is that he has a debilitating stutter (cleverly alluded to in the title) and relaying his stories proves a greater struggle. Brooks is given an allotted time to complete his stories and when his time runs out, a designated actor (Jonny Potts for this evening’s performance) finishes the account on his behalf, with Brooks fuelling humour and theatricality by giving different directions of how his story should be read. Each of these chapters is punctuated by lip-syncs, which Brooks performs to a thematically relevant pop song (again, clever title).
One of the greatest strengths of this show is Brooks’ unrelenting truth. He is a gifted storyteller who successfully navigates loneliness, confusion, self-doubt, unrequited love and in the end the triumph of personal strength and endurance. The stutter is a barrier that is easily broken down as audiences pretty quickly hang on to his every word.
With that said, for a show billed as Sam Brooks’ performance debut, I was left wanting more of Sam Brooks. There is a great rawness, authenticity and emotional weight in seeing Brooks struggle his way into telling his own story and the addition of Potts kind of loses some of the story’s potency. However, what they lose in resonance, they gain in fun. Potts is game to play along with Brooks’ sometimes outlandish offers and it is truly enjoyable to see him keep up.
The show truly shines when Brooks takes the stage for his lip-syncs. Each one is deeply felt, fully realised and evokes the shows most powerful emotions. There are moments of true poignancy, wistfulness and beauty to be wrung in Brooks’ unvarnished, commanding performance. And juxtaposed with his struggle to get his words out earlier, it is a powerful picture. As a performer, he is unapologetically flamboyant, wearing his camp influences on his sleeve as shown by his glorious song selections and dance moves. He offers a refreshing voice to the table especially when mainstream media’s bid to normalise homosexuality vows to erase the more ostentatious side of the gay man’s spectrum.
All in all, this is an artfully crafted show which successfully showcases the man behind the playwright. Anyone who’s loved, lost and/or found themselves again will leave with a satisfying night out. And there’s ample humour, heart and fabulous lip-syncs to make it a true winner.
Of the two Auckland-based B4 25 perennials/theatre wunderkinds to make a splash in the Wellington scene this year, it is Brooks who lives up to his promise, stutter and all. Elaine Stritch, Nicki Minaj and Porky Pig would all be proud.
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Random Thoughts:
Brooks wonderfully uses “Boy Problems”, a cut from Carly Rae Jepsen’s revelatory new-wave inspired new record, E*MO*TION. Whoever spreads the Gospel of St. Carly automatically gets extra points for being awesome. The album is a masterpiece of distilled wistfulness and nostalgia. A+
Timer and Sound Designer Adam Ogle is a great foil for Brooks. Some of the shows best moments are from their cheeky interactions.
Bronte Fitzgibbon and Jake Brown provide stellar support as Brooks’ back –up dancers. Brown, in particular, needs to have his own dance-based show. He nearly stole the show.
Why does Hillary Swank have two Oscars? Both of her winning roles are pure Oscar-bait 101 (Transgendered man and Female boxer to put it simplistically). Poor, Oscar-less Annette Bening, losing to the same, less-talented actress twice.
One of the greatest strengths of this show is Brooks’ unrelenting truth. He is a gifted storyteller who successfully navigates loneliness, confusion, self-doubt, unrequited love and in the end the triumph of personal strength and endurance. The stutter is a barrier that is easily broken down as audiences pretty quickly hang on to his every word.
With that said, for a show billed as Sam Brooks’ performance debut, I was left wanting more of Sam Brooks. There is a great rawness, authenticity and emotional weight in seeing Brooks struggle his way into telling his own story and the addition of Potts kind of loses some of the story’s potency. However, what they lose in resonance, they gain in fun. Potts is game to play along with Brooks’ sometimes outlandish offers and it is truly enjoyable to see him keep up.
The show truly shines when Brooks takes the stage for his lip-syncs. Each one is deeply felt, fully realised and evokes the shows most powerful emotions. There are moments of true poignancy, wistfulness and beauty to be wrung in Brooks’ unvarnished, commanding performance. And juxtaposed with his struggle to get his words out earlier, it is a powerful picture. As a performer, he is unapologetically flamboyant, wearing his camp influences on his sleeve as shown by his glorious song selections and dance moves. He offers a refreshing voice to the table especially when mainstream media’s bid to normalise homosexuality vows to erase the more ostentatious side of the gay man’s spectrum.
All in all, this is an artfully crafted show which successfully showcases the man behind the playwright. Anyone who’s loved, lost and/or found themselves again will leave with a satisfying night out. And there’s ample humour, heart and fabulous lip-syncs to make it a true winner.
Of the two Auckland-based B4 25 perennials/theatre wunderkinds to make a splash in the Wellington scene this year, it is Brooks who lives up to his promise, stutter and all. Elaine Stritch, Nicki Minaj and Porky Pig would all be proud.
________________________________________________________________
Random Thoughts:
Brooks wonderfully uses “Boy Problems”, a cut from Carly Rae Jepsen’s revelatory new-wave inspired new record, E*MO*TION. Whoever spreads the Gospel of St. Carly automatically gets extra points for being awesome. The album is a masterpiece of distilled wistfulness and nostalgia. A+
Timer and Sound Designer Adam Ogle is a great foil for Brooks. Some of the shows best moments are from their cheeky interactions.
Bronte Fitzgibbon and Jake Brown provide stellar support as Brooks’ back –up dancers. Brown, in particular, needs to have his own dance-based show. He nearly stole the show.
Why does Hillary Swank have two Oscars? Both of her winning roles are pure Oscar-bait 101 (Transgendered man and Female boxer to put it simplistically). Poor, Oscar-less Annette Bening, losing to the same, less-talented actress twice.
