Grindr

It’s a ridiculous idea - Grindr The Opera, but some ridiculous ideas bear fruit, and this one certainly does. Creating the character Grindr as a manipulative deity allows writer Erik Ransom to play with knowledge and prejudice to weave a story around four men’s experiences of using the Grindr App. He effectively references Evita in the opening sequence, quotes Village people and Gilbert and Sullivan – probably with more sources which I didn’t catch. Devon and Tom have a tinge of RomCom whilst Jack and Don explore the seedy side. One song lacked the flow of the others: I found “A Man Like You” a disappointment.

Jack is surprisingly vehement in his reaction when Don takes things too far, contrasting his explicit listing of what he is willing to do for his pleasure. Maybe you don’t always enjoy what you wished for. But anything goes in opera. It’s a neat development to include Grindr Extra as the stories progressed and the revelation in Act Two is artfully contrived to give great audience satisfaction.

Christian Lunn relishes being Grindr, this mythical beast, with vocal bravura and malevolent delight. He is the striking centre about whom the show turns. He is ably supported by two angelic daemons played by James Aymon and Grant Jackson. It is their adroit, subtle work which moves scenes, cast and scenery. Santino Zapico is excellent as the faltering nice guy, Devon. It may have been years since Devon was in the market, but Zapico shows delicate development as he gets together with Tom. Billy J Vale is endearing as Tom, while his tentative trust turns to frustration. Dereck Walker has a ball with his character Don, flowing into the baddie role and reaping most laughs from this privileged two-faced Tory. James Lowrie completes the loving quartet as Jack, who embellished his cheeky, raunchy twink with every suggestive possibility.

From the moment I walked in to hear Joe Kenan warming up his cello, I was confident that the music would be good, and Aaron Clingham did not disappoint. His leading from the piano kept the tight quartet with Kenan, Becky Hughes and James Green driving the show forward.

A simple yet intricate set by David Shields provided perfect areas for the Director to encourage his cast to play. Back projection (not a video wall as far as I could see) added variety without distraction. Candles dotted around echoed a religious feel and the ramp allowed Grindr to spy on his human toys. Lighting by Jonathan Chan was effective and precise, enhancing the mood. Costume ranged pleasingly from fantastical to the everyday. The sound balance was excellent, allowing us to hear each lyric. With top-quality production, William Spencer has guided his cast in an enjoyable romp and his choreography is just enough to give us a further element which boosts the surreal tone. Let’s have more ridiculous ideas like this one!

Derek Benfield