BWW Reviews: MOTHER CLAP'S MOLLY HOUSE Looks At The Business Of Pleasure In Georgian England and The 21st Century

Thursday 26 February 2015, New Theatre, Newtown NSW

MOTHER CLAP'S MOLLY HOUSE: A PLAY WITH SONGS is a bawdy, no holds barred play about a an enterprising woman and one of the earlier Gay Clubs and a modern sex party that explores sexuality, love, desire, passion, family, prejudice and stereotypes. This work by Mark Ravenhill and Matthew Scott (Music) first staged at New Theatre a decade ago, has been revisited as part of the Sydney Gay and Lesbian Mardi Gras line up with great success if the roars of laughter are anything to go by.

The simple New Theatre space is simply dressed with semi opaque white cloth walls, a collection of dresses hanging from the rafters, an old travelling trunk, chaise lounge and large wooden shop counter. Lord Lovaduck opens the show with a light classical piano arrangement reminiscent of something that would be at home in an old English parlour filled with nice ladies sewing, or painting, or taking turns around the room. The tone darkens as the ensemble sets the tone with a song about Enterprise. The ensemble gives little clues as to the era of the performance whilst still being somewhat ambiguous as there are girls in ill fitting corseted dresses, men in heavy cotton pants and tops, a boy with a crystal E on his chest, wearing a girdle, tutu and feather wings and a man in bright yellow overalls bearing the label "God".

It turns out frumpy Mrs Tull (Deborah Jones) sews dresses whilst her husband Stephen (Garth Saville) runs a dress shop that hires out costumes, predominantly to prostitutes. Andrew Grogan plays the innocent childlike apprentice Martin, who Mrs Tull dotes on like the child she is unable to have. Steve Corner is the cross dressing Princess Serafina that seeks employment but is reviled by Mr and Mrs Tull. It becomes clear that Stephen has been doing more than just renting dresses to the 'sluts' and 'whores' as he clutches his crotch in pain and complains of a burning in the head. When Madam, Amelia (Debra Bryan) brings in a new girl for a dress, Stephen tries to restrain himself while the young Amy (Chantel Leseberg) talks of always wanting to come to London to be a whore, trying to tempt him, and he eventually loses control as he has a heart attack and dies. Mrs Tull, left with a business she does not think she can run is eventually exploited by Amelia and Martin's friends give her the idea to modify her business.

At the same time as Mrs Tull has decided to transform her business to become one of the first gay bars where her male clientele, the "Mollys" all don dresses to dance, drink, and do much more, the story splits to a 21st Century Sex party held by a wealthy gay couple. Through stories, lust and desire is urged on by the Red Winged Eros, played by a cheeky Bradley Bulger.

The story is filled with overt sexuality in the song, dialogue, and actions. Louise Fischer's (Director) interpretation of this play is not for the faint hearted or the closed minded. There is lots of talk of sex both from the whores, the Mollys and the contemporary men, along with near nudity and graphic sex scenes. The delicious crassness and unabashed openness and vulgarity add to the humour that delights the audience.

Deborah Jones is wonderful as Mrs Tull, who later takes on the name Mother Clap. Her character evolution is great to see as she comes to accept those that she originally judged, becomes a mother figure to Martin and Ned (the cross dressing Amy), and learns to accept love into her life again. Steve Corner presents a very refined Princess Serafina who eventually ends up working for Mother Clap but proves to not be like the other cross dressing Mollys. Corner gives Princess Serafina a power combined with compassion as he fights with Mrs Tull to look after Amy rather than throw her out on the street and offers solace to Mrs Tull following Stephen's death.

Andrew Grogan takes on two characters both discovering their sexuality, the Georgian era Martin and the Modern Era Tom. Martin is presented with youthful innocence and awkwardness as he wants to be please Mrs Tull and is afraid of the feelings for Orme (Patrick Howard) that Eros is drawing out. Tom is a jittery, self-absorbed young man that has recently become aware of his sexuality ad wants to immerse himself in the gay culture.

The story is interspersed with full musical numbers that are delivered with musical theatre pastiche, little snippets of song that prime the audience for the coming scene, saving longer plot transitions, and recorded modern pop music, including On A Night Like This and Don't Leave Me This Way, that fills space whilst the set is being rearranged. The vocals are for the most part strong particularly in the male ensemble number Whoever the F*ck wants to F*ck me, F*ck Me. There is a little loss of power and volume in parts of the opening number and the Whore's Prayer.

This is a hilarious performance that shows that there is still prejudice, people get comfort and peace in unusual places, they will sacrifice a great deal for companionship and family, and business enterprise can be found if you are willing to be open minded. This is definitely not for people that get uncomfortable with in your face sexual content but if you've got an open mind, this is sure to entertain and delight, and possibly enlighten.

MOTHER CLAPS MOLLY HOUSE: A PLAY WITH SONGS

New Theatre

542 King Street Newtown

11 February - 7 March 2015

Photos: Bob Seary

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