Not only does De Frutos save a fortune on costume designs, the set is pretty minimal, too, consisting of a door frame through which he makes his entrances, and a suspended window frame through which he strikes a variety of poses in warm yellow light, like a mad Rembrandt. The opening sequences feature him grimacing histrionically and pacing out the circles drawn on the floor with the strange gait of a crippled hen. By the time we hit Ethel Merman's number "Some People", De Frutos's dance pedigree is to the fore in a compelling and delicious solo in which his arms lick around his body like tongues of flame. However, we swing from the sublime to the ridiculous when he turns his back to the audience, bends over and waggles his bum to one of Baby June's little songs, suggesting that the inane lyrics are coming from his spotlit rear end. Later, when the sound- track features a tap routine, he bounces repeatedly, his willy going like the clappers. I must say I found it very, very hard to get excited about all this, but thankfully so did he.
Louise LeveneReuse content