REVIEW: Turds in Hell (EgoPo Classic Theater, Philadelphia PA)
- Frank Schierloh
- Apr 19
- 3 min read
Nary has there been a more apt title for a show.
The 1960’s brought about a vast and varied wave of experimental theater, but one of the most notable movements of that time was Theatre of the Ridiculous. Founded in New York City, this particular brand of theater was subversive in as many ways as possible. It brought queer and camp elements into the experimental theatre landscape, usually incorporating drag elements, and being staged in bars and underground performance spaces. EgoPo Classic Theater’s production Turds in Hell, as part of their Queer Revolutions season, is a play that was created in that era. Written by some of the most influential voices of this theatre genre, Charles Ludlam and Bill Vehr, it is a rarely produced piece, yet in this production never truly finds a point in the absurdity.
Not Enough Fiber
Being underground and avant-garde, Theatre of the Ridiculous was known for its roughness, filth and mess. Unfortunately, EgoPo’s production tries to capture those tenets of this theatrical genre, but never fully succeeds. From performance to direction, it rarely feels that the filth and mess are anything more than put-upon artifice. The urgency and energy of the story was often slowed by drawn out line deliveries or clunky staging. The script is simplistic and intentionally absurd, but it often felt like the performers and director were afraid to lean into the inherent silliness. This is not to say that the performers don’t try, and occasionally they find that sweet spot of ridiculousness: Adam Howard’s lace-laden pleasure pleading, Nico Montalvo’s bouncing bosoms, and Jenna Kuerzi’s asides to the audience were notable highlights. A sequence at a brothel with a sultry song performed by Kuerzi was the biggest bright spot of the show. But these highlight moments were few and far between.
There's Dirty, and Then There's Nasty
The technical elements of this production also never really manage to make this turd shine. The lighting is patchy and hazy, oftentimes with actors having stark shadows across their face and light hitting in a slapdash pattern that didn’t always work. The central runway of the set was a nice change of pace from a standard proscenium, and it was utilized well enough. The broken down Art Deco wall at the top of the runway, as well as the chandelier were nice touches as well. The costumes were risque where they needed to be, but didn’t feel super cohesive. As with much of the production, there was a general messiness and disorganization that felt intentional, but also not pushed far enough.
While being able to see this rarely produced and often forgotten piece of queer theatre has its novelty, it's a shame that this production doesn’t fully embrace its ridiculous roots. Turds in Hell is intentionally ridiculous, with scenes and a story that don't really make much sense...but all of that absurdity needs to be carefully reveled in; it's not enough to rely on sloppy and messy and call it "ridiculous." EgoPo’s production doesn’t ever really make the absurdity feel authentic, instead relaying "scandalous" topics and moments in a way that feels at best performative edginess, and at worst childish. Still, it was not without some genuinely laugh out loud moments. This genre of theatre certainly has merit, and showcasing it is important in remembering our queer theatrical history, so I commend EgoPo for that; ultimately though, this production is one that may have audiences running to the nearest toilet for one reason or another.
EgoPo Classic Theater’s production
of Turds in Hell is playing at
Theatre Exile (1340 S. 13th Street)
from now until April 20th.
For more information visit www.egopo.org.
Comments