A notorious theatrical work by the late frontman of The Fall, Mark E Smith, is set to be resurrected almost 40 years after its original, critically savaged debut. 'Hey! Luciani', a play delving into a controversial papal conspiracy, first premiered in 1986 and is now returning to the stage, prompting questions about its potential reception in a contemporary context.
The original production was met with widespread derision from critics, who found its narrative about a plot surrounding the Pope bewildering and disjointed. Despite the negative reviews, the play has since gained a certain cult status, largely due to Smith's distinctive artistic vision and the unconventional casting choices.
One of the more surprising aspects of the initial run was the involvement of members of The Fall themselves. Steve Hanley, then the bassist for the Manchester post-punk group, found himself taking on the unexpected role of the Pope. He recalls being clad in a multi-layered papal suit, a stark departure from his usual stage attire as a musician.
Adding to the eclectic mix of performers was the iconic performance artist Leigh Bowery, who appeared in the role of a cardinal. Bowery's flamboyant and provocative style was already well-known in the London art scene, and his presence undoubtedly contributed to the play's unique, if perplexing, aesthetic.
The decision to revive 'Hey! Luciani' invites a re-evaluation of Smith's theatrical ambitions. While his musical legacy is firmly established, his ventures into other art forms were often met with a more mixed response. The revival will test whether the play's themes and structure can find a more appreciative audience in an era perhaps more accustomed to experimental and avant-garde theatre.
Audiences will now have the opportunity to experience this maligned piece of performance art firsthand, to determine if Smith's vision was simply ahead of its time, or if its narrative remains as inscrutable as it was deemed to be in the mid-1980s. The restaging offers a unique chance to revisit a curious footnote in the history of British music and theatre.
Source: Unnamed original source