Dandy in the Underworld

At a running time of just over an hour, and a cast list of just one, Dandy in the Underworld is a perfect little play.  Adapted from Sebastian Horsley’s autobiography of the same name, unfolding in a cozy recreation of the artist’s flat, and enacted seductively by Milo Twomey, Dandy in the Underworld takes the seemingly simple form of an intimate, extended monologue.

In a brilliant move by writer and director Tim Fountain, Dandy in the Underworld is structured – as befits both its subject and its title – around Sebastian’s toilette.  Of course a play about a dandy should make its central point his getting dressed!  And, as he slowly changes from dressing gown into full red velvet, custom tailored, Savile Row wedding suit, Sebastian, as a character, becomes increasingly vulnerable.  That what begins in a highly self conscious language layered with (highly amusing) Wildean quips evolves into something altogether more sincere by the instrument of the application of glittery red nail varnish is, to me, one of Dandy’s greatest charms.

If nothing else, this piece is, structurally and thematically, a compelling exposition of what it is to be a dandy.  To speak nothing of the character and the man who inspired him, the play itself is that adjective which seems to be comprise very core of dandyism –  untenable.  For example, as it was, Dandy in the Underworld was witty, quick and interesting, but at even ten minutes longer, I fear it would have spiraled so quickly into self indulgence; it, like the dandy, is so wonderful to behold only because it cannot be maintained.

It’s something between Twomney’s Sebastian, and perhaps the cult of Sebastian himself that gives Dandy in the Underworld such depth and heart.  Twomney makes the character positively sparkle, and manages to animate even the most over-the-top, controversy-seeking lines with breaths of truth.

For a man whose life was his art more than his paintings were, this seems the most natural, wonderful extension of Horsley’s work, and, if we want to go down that road (and I’m rather loathe to do so) I think it’s the best possible tribute. For, it is impossible to talk Dandy in the Underworld without also talking about the life of Sebastian Horsley, and today, it is impossible to talk about Sebastian Horsley’s life without recollecting his recent death.  In life, of course, this is nothing but sad; in respect to the play (whose script has remained utterly unchanged), however, I think it only adds to the drama and heightens the stakes.  The fact of Horsley’s death really makes Dandy’s audience feel that what it is watching is untenable; it adds poignant weight to what, even still, feels so light.

Dandy in the Underworld revels in our contradictions, and makes beautiful our follies.  Even occupying as it now does this strange, tragic, pop cultural death space, it is still so full of warmth.  I started by proclaiming this play ‘perfect’ because it really strikes a rare balance.  Even while immured in the sobriety of actual death, it manages to be irreverent and funny; especially while maintaining a perfect posture, it excels at being human.

Dandy in the Underworld is being performed at the Soho Theatre until 10th July.  See their website for tickets and more information: SohoTheatre.com