Live to Tell (a Proposal for) The Madonna Jukebox Musical – Omnibus Theatre

You may have noticed that Madonna is having a moment. Again. She’s announced a tour that’s seen a demented scramble for tickets. Her appearance, following surgical face-tuning is hotly debated on TV, TikTok and the 77 bus to Tooting. The 64-year-old appears to be getting high and hanging out with hip-hop dons and trans stars, while sharing her exploits on Insta like a gobby teen. This showbizzy noise almost drowns out her musical back catalogue and it’s all a stark contrast to her revolutionary HIV/AIDS activism in the ‘80s and ‘90s. 

Madonna bigged up safe sex, challenged HIV stigma and supported the American Foundation for AIDS Research (amfAR) on her 1987 tour. She delivered this advocacy loudly, when it was controversial and potentially damaging to her career. Madonna released Like A Prayer in ’89 which included an insert called The Facts About AIDS. It’s this fading history and consistent political support of LGBT+ rights that provides a backbone to Live to Tell (a Proposal for) The Madonna Jukebox Musical.

Brian Mullins has written a show about creating a musical based on Madonna’s life. In truth, it’s a very meta, Madonna megamix of a gay man’s management of living with HIV. The playwright performs a semi-vérité version of himself, while Dan de la Motte plays ‘Everyone Else’. As ‘Brian’ struggles to develop his show from concept to reality, he grapples with cognition issues that might be a side effect of taking HIV meds over many years. 

Live to Tell tackles some complex issues around living with HIV that are often overlooked. A terrifying death sentence morphed into a manageable condition and with this medical miracle came a slow, but welcome change in public perception. Antiretroviral therapy (ART) and then more recently, PrEP (pre-exposure prophylaxis) are medical advances which changed the landscape of HIV/AIDS. No more grim reapers and gravestones, people with HIV are running marathons, becoming pensioners and watching holograms of Abba. It’s a reality that sometimes still seems unreal. 

This show highlights the nuanced consequences of such cultural and scientific evolution. ‘Brian’ reminds us that shame and stigma can be devastating for the individual, even when society has seemingly moved on with a pill-popping, barebacking shrug. 

Madonna maniacs will lap up the song references and lyrical LOLs are peppered throughout the script. On the night we attended, there were many gay men of a certain age who were very au fait with Madonna’s medleys, judging by the hoots and singalong. At one point, towards the end, ‘Brian’ takes to a microphone and delivers a monologue that’s akin to a howl of rage and fear. Addressing his HIV status, he feels toxic, grateful, guilty, alone and enraged. It’s powerful, authentic and enlightening. Without doubt, it’s the highlight of the show.

Dan de la Motte brings comedy chops to a serious topic, via his turns as Brian’s agent, boyfriend, doctor and a gurning Grindr hook-up. Madonna’s pop catalogue and NYC story are the vehicles for ‘Brian’ to tell the story of Brian Mullins and while the Queen of Pop brings a zing to proceedings, she’s an occasional distraction. Live to Tell is fun, experimental and sporadically serious, but more Mullins and less Madonna might take this Deeper and Deeper. 

Live to Tell (a Proposal for) The Madonna Jukebox Musical is at the Omnibus Theatre, Clapham until February 18th. https://www.omnibus-clapham.org/

Reviewer: Stewart Who?

Reviewed: 10th February 2023

North West End UK Rating: ★★★