“Unendurable” London Mask To Close

Behind the Iron Mask, a three-actor chamber musical based loosely on The Man in the Iron Mask opened this week in London’s West End to terrible reviews, and announced it will close. How bad were the press notices? “It’s so bad that it is merely unendurable,” wrote Charles Spencer in the Daily Telegraph. “There’s no insane flourish to its mediocrity, no sublimity to its awfulness. It is just relentlessly, agonisingly third-rate.” The cast, he said, “perform as if they have been on a prolonged Mogadon bender”.

Outlook: More Theatre That Engages

“Five years ago, if you had looked at the programme for the Edinburgh Festival, you would have been overwhelmed by the amount of “up-your-bum experimentalism”. Now, though there is still an unconscionable amount of that sort of thing, plus a lot of other general silliness, there are also more plays than I can ever remember that engage with the big issues of the day.”

Great Theatre vs. Middlebrow Tourism

Ontario’s popular summer theatre festivals are as vibrant as ever, and appear to have recovered nicely from an extended post-9/11 downturn. But what is the true mission of such festivals, exactly? Should Stratford and Shaw be focused on creating a nice vacation destination, or on presenting high art? At their best, the fests can serve both masters, but it’s a delicate balance.

Where’s That Vaunted British Sense Of Humor?

British comedy has become increasingly darker, and one theory is that Britons are laughing less, losing their sense of humor. “A survey earlier this year by cruise company Ocean View even concluded that the amount of time we spend chuckling daily has fallen from an average of 18 minutes in the 1950s to just six minutes today. Traditionally, the English only peep out from their caves of national self-disgust to trumpet their alleged good sense of humour, their subtlety with irony, their readiness for laughter. Has our comedy become unfunny, and is our laughter on the brink of extinction?”