Arches Theatre Festival 07: Spanglebaby/The Be(a)st of Taylor Mac

Poorboy's latest production Spanglebaby is about the corporateness of 'Better Life', a cyber-world where potential users are allowed, for a small credit card charge, to completely reinvent themselves in an alternate universe where anything can happen.

The action focuses on two employees: artistic secretary Amy Rose and hotshot corporate manager Richard White. Amy is at first entranced by the concept of 'Better Life' and seems to enjoy both her job and working with her boss. However, as deadlines loom, Richard's initially motivating nature turns to tyranny, ending in a showdown of personalities and beliefs.

The play engages the audience during the first half when it's staged in promenade. Making clever use of the performance space, both actors move throughout a large area and allow the audience an active view of the play, sometimes even bringing them into the narrative.

However, when the second half requires the audience to sit, the whole dynamic changes. What was a stimulating piece of theatre becomes trite. By removing the audience from the action more focus is put on the script, and sadly we've heard it all before. The constant surprise that was enjoyed in the first half falls into predictability.

This aside, the energy and staging concept make this a very worthwhile and enjoyable production. The imaginative direction and passionate performances mostly manage to disguise the flimsy script. Poorboy should look at keeping the full production as a promenade piece if they plan on Spanglebaby having a life past this performance.

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"Comparing is violence." So announces Taylor Mac in the middle of his performance of The Be(a)st of Taylor Mac, a hodgepodge of music, fashion and political discourse that's lighting up the Arches Theatre Festival. To compare Mac with other drag performers would be easy but doing so completely misses the point.

Armed with a ukulele, a suitcase, and the occasional use of lighting changes, Taylor Mac creates a bigger and more impressive production than most manage with a reliance on flashy sets, expensive costumes and a large domineering cast. The show is billed as lasting for 70 minutes, actually running to 80 minutes, but feeling more like 30. It's nearly impossible not to get swept into the world of music and monologues presented.

With classic mythical references, social commentary and political mockery, Mac creates an evening above and beyond a simple cabaret. There are more concepts in his thought-provoking songs and commentaries than in most newspapers. And his banter with the audience, focused on a vocally intoxicated man, when I saw it, was engaging, funny and heartfelt, unlike the sometimes defensive measures taken by most solo performers.

Simply, this is theatre at its best: funny, touching and controversial. With his bright make-up and flashy dress, it's easy to be surprised by his beautiful, tonal voice and skill as an actor. On taking my seat in the theatre I have to admit to having some reservations as to what I was getting myself into, cabarets not usually being my cup of tea. However, to quote a song from one of his best musical numbers, "But I loved him!"