The art world of the European Renaissance is not perhaps the first place you would think of for the inspiration behind a new musical, but in the friendship to feuding of Michelangelo and Leonardo da Vinci, creator Dylan MarcAurele has found his subject. This frothy, high camp confection is certainly more Beyoncé than Burckhardt, more Pet Shop Boys than Petrarch. But at 70 minutes or so it does not overstay its welcome, and offers plenty of opportunities for the six talented performers to strut their stuff.
There are eight numbers in all, mainly up-beat knock-about stuff, but also some surprisingly introspective moments too, which give hints of how this show could be expanded in other more serious directions, if desired. We start with an ensemble shout-out, ‘Let Me Be Your Renaissance Man’ before being introduced to the main plot lines. Leonardo and Michelangelo discover their sexuality and decide to hide in plain sight by training as artists aiming to receive the patronage of the church. Along the way they are befriended by another art student, Salai, before the more ruthlessly ambitious Michelangelo sacrifices integrity and friendship in the cause of ambition – namely the chance to paint the ceiling of the Sistine Chapel. They have to contend with a venal and amoral pope and a homophobic Cardinal-campaigner, Savonarola. The action swings between badinage and backrooms and finally to the world below, as everyone ends up cheerfully in Hell in ‘An Eternity With You’.
There is more than a touch of ‘Six’ about this show, with as much knowing celebrity backchat as actual history. This registered well with younger members of the audience, though I did wonder how well the show would age once the social media caravan has moved on. That said, the pacing and choreography were impressive, ensuring you were never left to ponder for long on what might lie below the polished surfaces. Witty, if sometimes over-wordy, lyrics provided continuing stimulus, and the gestural classical elements of the set allowed for quick transitions between scenes managed by the performers themselves.
There was a lot of energy and swagger from the cast as a whole, and some notable individual characterisations from a very young cast, with some just out of drama school. Max Eade found plenty of light and shade in Michelangelo, the most fully developed character in the story, and Aidan MacColl offered a striking physical and psychological contrast as Leonardo. Paul Toulson played a number of roles, but clearly enjoyed his time on the papal throne – or lounger – best of all. Conn McGirr centred the action through his portrayal of the loyal friend, Salai, and Lucy Carter was suitably OTT as the pantomime villain, Savonarola. Maiya Quansah-Breed segued through a variety of roles with skill.
This show began life as a success at the Edinburgh Fringe and fully deserved this showcase in a larger format in London.
Book, Music & Lyrics by Dylan MarcAurele
Director: Joe McNeice
Cast: Max Eade, Aidan MacColl, Paul Toulson, Conn McGirr, Lucy Carter, Maiya Quansah-Breed
Until November 5 2024
70 mins, no interval
Photo Credit: Steve Ullathorne