Adam Klasfeld ist wie schon Michael Criscuolo (nytheatre) vor ihm von der Wendung, die Slag Heap im 2. Akt nimmt, nicht allzu angetan und bewertet die Aufführung insgesamt durchwachsen. Die Schauspieler kommen bei ihm ebenfalls ganz gut weg, auch wenn er unter anderem bei Vincent Kartheiser eine äußerst interessante Formulierung wählt, um dies auszudrücken ;-) Aber lest selbst:

Eugene Scribe, who developed a formula for writing commercially successful plays in the 19th century, probably never imagined a piece like Slag Heap. Audiences of his time would never have sanctioned theater with such explicit depictions of prostitution, homosexuality, drug use, pedophilia, pornography, and grinding poverty. In today's era of such playwrights as Mark Ravenhill and Sarah Kane, however, these subjects are no longer taboo -- especially not if they're dealt with in a neat moral fable that gives Thatcherite economics a light slap on the wrists. While Slag Heap is not the most challenging play of the season, author anton dudley [sic] has a good ear for dialogue and a gift for dark humor that make one wonder what he could do with a less contrived plot.

The play follows a group of slags -- two hookers and a gigolo -- as they try to hustle their way off the streets of Manchester and into posh London society. Dave and Ashley are two old friends and sometime lovers who cruise for clients outside a local pub. Business has been much better for Dave, and Ashley chalks this up to one of the fallouts of women's liberation: As female sexuality became less mysterious, she argues, prospective johns turned to male-on-male action as something more exotic. Nevertheless, Fran -- a sexy black woman from Dave's past -- ropes in a lot of money from a single john.

( >>nächste Seite: Part 2 )