This performance of Re-Member Me, for someone who’s never seen or read Hamlet, was quite the steep learning curve. There’s a brilliant insight into not only the text itself but the cultural juggernaut it has become in terms of what makes it so iconic for actor types. In this tight and slick one-act production, complete with muscled mannequins, disco lights and a glitterball – it feels like an entirely fresh concept.
Dickie Beau’s energy reverberates around the theatre – for he single-handedly holds this show together for an impressive eighty minutes bringing an infectious spark. In this part documentary, part seance, we’re introduced to audio snippets from iconic actors who’ve played the titular characte, be thatRichard Eyre, or Ian McKellen and even the late Ian Charleson. Excellently coordinated by Dickie’s impressive facial expressions (these are worth the ticket price alone). The real honing in of Dickie’s talent is evident and I was in awe of the physical theatre on dislay.
One particular moment that sticks in my mind, and that is when he depicts the assume position at the beginning of a racing start position; Beau’s upper strength and ability to play still convincingly was a marvel to watch.
(Opening 17-03-17)
©Tristram Kenton 03-17
(3 Raveley Street, LONDON NW5 2HX TEL 0207 267 5550 Mob 07973 617 355)email: tristram@tristramkenton.com
Overall, the piece journeys into unchartered territories with its jovial beginning (think The Village People and lipsycing to perfect campness) and that sets us up for an archiving of queer history. The fact Re-Member Me is performed on the main stage in Hampstead – known for its cruising by a certain famous pop star – is a testament to the theatre’s commitment to never shying away from showcasing remarkable queer works. A necessary watch, it also remember the late actor Ian Charleston – and brings us face-to-face with the harsh realities of performers who we lost during the HIV/AIDs crisis. We will remember those that have passed, and Dickie Beau’s creation is a masterful take on the innovation that a performance can bring; ultimately, it does indeed enmesh the modern with the ghosts of the past. The set design is simple, with a white sheet acting as a curtain for shadows to be cast onto; facial expressions are perfectly visible – and at times captivates the audience. However, the usage of projecyed video screens did feel like too much was happening all at once.
However, the overall charm does not detract too much from a unique piece of theatre. It was initially planned to be screened in Hong Kong, but COVID-19 prevented that; there’s a universality of its appeal and the storyteller deserves all his flowers in crafting a show that is visualised with flair.
Do not miss this if you get to see it, for you will leave the auditorium with a better knowledge of a part in history that is too often overlooked.
Playing at the Hampstead Theatre (nearest tube: Swiss Cottage) until June 17. Tickets via: hampsteadtheatre.com