REVIEW: Guest Reviewer Hums Engineer Shares His Thoughts On ODE TO JOY (HOW GORDON GOT TO GO TO THE NASTY PIG PARTY)

Wednesday 17th January 2024 7pm, The Neilson Nutshell (The Thirsty Mile) Pier 2/3

As I took my seat inside the three-quarter full Bell Shakespeare (at Pier 2), I received a message on my phone from a colleague stating “It looks like a wild performance”. I would say wild is an understatement for this 4-man show, that leaves very little to the imagination. The “Glossary of Gay” flyer I received on my way to the seat made sure of that, describing (in layman’s terms) what “Tina”, “pig sex” and “taking loads” mean. Loads of what? Load of Fun? Well……

ODE TO JOY (HOW GORDON GOT TO GO TO THE NASTY PIG PARTY) is a festival in itself of sex, drugs and techno (sorry, no rock and roll in these homosexual nightclubs), with the portrayal of Gordon’s (Lawrence Boothman) journey to self-discovery at its centrepiece. Whilst the show heavily focuses on depicting taboo subjects within parts of gay culture in an unapologetic and in-your-face manner, all 4 characters appeared to have an equal liking to by the audience. However, it was Gordon that won it for me.

 

The show opens with techno music playing in the background, with DJ Simon “Simonotron” at the helm, at a kinky sex party in Leith, Scotland. Making a grand entrance into the party is Manpussy/Tom (Mark Mackinnon), an over-the-top, gloriously camp character that draws the audience in with his yellow chequered kilt and a manner that commands attention. Shortly after, enters his husband, Cumpig/Marcus (Sean Connor), an athletic and exuberant man with an addictive personality and an insatiable appetite for sex. They banter for a bit until meeting Gordon, a junior Lawyer at the Scottish Government, who is about to discover that unhealthy doses of sex and drugs given to him by the couple is what will lead him to discover the many facets of his personality. Through the portrayal of Cumpig’s character, we are easily able to acknowledge his toxic traits and why Gordon is influenced by them.

Director James Ley writes funny scenarios and sharp lines, which takes the audience on a mad adventure and leaves them in stitches, and for some, probably more informed than they were prior to the show. He delves deeply into taboo subjects and unapologetically depicts scenarios from gay culture that are not often found in the mainstream (thank goodness for that Glossary of Gay). However, the initial delivery of those lines, whilst cleverly done, was difficult to understand, owing to their heavy Scottish accents and the constant talking-over-each other during the initial character build up. However, moments into the show, you get used to it and adjust.

Manpussy’s experience of having a sour cream and chives box inserted into his rear end and the pleasures he derives from it was the first of many such scenarios. Then there’s Cumpig’s unapologetic yearning to take as many loads as he can during chem sex and be a role model of sorts to Gordon. It’s the way in which he takes pride of his pursuits and achievements that wins the audience over. However, it’s the way in which Gordon takes us on his journey, which makes the show a success. Ley’s in-your-face direction and portrayal of the inexperienced Gordon, elevates the humour and makes the audience cringe even more when he tries to be someone he’s not. Furthermore, Gordon takes an absurdist approach towards unabashed gay sex and use of drugs, which simply heightens the action for the audience, making it more effective and letting them live out the sensory overload of Gordon’s experiences.

Whilst the comedy appeared to be well received by the audience (judging by their rapturous response), it was unfortunately not the case for me. I was bored by the humour most of the time. I had heard it all before and it didn’t feel like a fresh, new take on the scenarios depicted. It was almost as if the audience was trying to be convinced of a way of life they had not heard of, but in a comical way that did not always work – not for me anyway. It may be because I couldn’t see a positive side to some of the subject matter, knowing the negative impact they’ve had on some members of the community.

One of the highlights of the show for me was when the 3 of them travel from the shores of Leith to the streets of Berlin, into the most popular gay sex party in Europe. What follows is the most unabridged, drug-fuelled, STI-riddled coming of age tale! No detail is spared in the whirlwind account of the three adventurers. The language is uncouth (get that “Glossary of Gay” out again). Costume designer Cleo Rose McCabe rose to the occasion, by enrobing Manpussy in perhaps the world’s largest adult life jacket, complete with a “jerk” tag for inflation. With a chocolate cake in one hand, Manpussy strangely and exaggeratingly fits the theme of “sportswear” for the night. We also see for the first time, Gordon embracing his new-found self in a tight-fitting red wrestler’s outfit. Outfits in place, we see three of them sinking deep into the memories of their fast-and-furious night.

During the night’s events, we see Gordon declaring he has discovered himself. Not just one part of himself, but the many different facets of himself and provides examples of his new-found attributes by comparing them to countries, foods, people and events. A self-realisation of a different kind, but one that leaves the audience in stitches and eating out of his hands.

The best way to describe this show is honest. Qudos for having the audacity to talk about subject matters so openly. As appealing as the comedy was for most of the audience, it fell flat on me. It may be an absurdist piece that leaves audiences questioning whether they are mundane for not delving into the taboo aspects of life, however, I for one, am not one of them.

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