Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Feb 18 – 22, 2014
Playwright: Wayne Tunks
Director: Fiona Hallenan-Barker
Actor: Wayne Tunks
Image by Katy Green Loughrey
Theatre review
Madonna, the pop star, means many things to many people. Like many brassy women in the public eye, she is regarded by gay communities as an icon. An outspoken proponent of the gay movement since the early 1990s, it is understandable that her place with LGBT people has endured the years. In this one-man play by Wayne Tunks, he talks about her obsession with Madonna in his introduction, then goes on to share with us his stories of coming out and relationships with various men, liberally quoting lyrics by his hero at every available opportunity. His script is an interesting one. It is almost as if Tunks is unable to verbalise his thoughts and feelings without the aide of Madonna songs, so her words keep appearing in his monologue, sometimes seamlessly, sometimes a little forced, but it is no doubt that his admiration is beyond skin deep, and that her work actually provides a space of solace. It looks a lot like religion. Tunks is an actor full of vigour. He appears on stage and is determined to seize your attention, and for the entirey of his performance, we pay close attention to his stories. It helps that Tunks’ voice is commanding and versatile. It is naturalistic acting but there is definitely not a hint of mumbling, everything is said loud and clear, which is fortunate as the bareness of the staging and minimal direction of the near two hour work, leave nothing else for Tunks and his audience to hold on to.
The show overflows with earnestness. For a seemingly shallow premise of pop star fandom, it contains no irony and very little frivolity. We are presented love stories with a string of men, Sean, Warren, Guy, Jesus, and (presumably) Brahim. They are not particularly colourful events, in fact, slightly mundane. There isn’t really a set up of context, just a man keen to share with a captive crowd, and we are inspired by his fighting spirit that never gets dampened by failed relationships. He keeps getting back in business as though nothing’s better than more because ultimately, what can you lose?
“You’re never gonna see me standin’ still, I’m never gonna stop ’till I get my fill” (Over And Over, Madonna 1984).
www.tunks.com.au
