Zane Henry gave me the thumbs up for this one because I had no idea what it was about from the review in Cue. We sat in a U shape, looking at each other in real light. “Steve” was sitting next to me. I knew the instant I sat down. I loved that. I loved that I could have sidelong glances at the performer’s hands. I could actually smell him; access his ‘performerbility’, before the show started. And then he started. And I went with this extraordinary young man on an original, unusual and deeply personal trip. Yes, I was completely aware that most people in the  audience were challenged beyond their particular capacity, and I had to work to show my love and ‘thereness’ for him. I didn’t mind. I did feel skaam for the sleepers and embarrassed in the audience. I did.

What interesting issues though. And interesting story. And interesting take. And unusual choices. I was reminded about how I felt when I saw Hedwig and The Angry Inch for the first time. My brain was expanded. I re-understood the unique relationship that is developed between a performer and an audience, or even just some of them. I had a completely fantastic evening at the unusual, original, strange and completely engaging Life is Too Good To Be True.

And I am deeply head over heels in love with the gorgeous performer and his director sister from Het Geluid Maastricht.