Taboo

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Taboo: A New Romantic Spectacle in the West End

Taboo, a jukebox musical with music and lyrics by Boy George and a book by Mark Davies Markham, stormed London’s West End on January 29, 2002, at The Venue Theatre, a 300-seat space off Leicester Square. Directed by Christopher Renshaw, this flamboyant production ran for over a year, closing on April 26, 2003, after approximately 520 performances. Set against the 1980s New Romantic scene, it intertwines the rise of Boy George with the outrageous world of Leigh Bowery’s legendary nightclub, Taboo. With its pop-infused score and dazzling costumes, the show captured a generation’s excess, earning a devoted following and a 2003 Olivier Award for Paul Baker’s supporting role.

Origins and West End Launch

Born from a concept by director Christopher Renshaw to fuse Boy George’s life with Leigh Bowery’s club legacy, Taboo emerged after a three-week workshop. George collaborated with Markham, Kevan Frost, John Themis, and Richie Stevens to craft its sound, drawing from Culture Club hits and new compositions. Opening at The Venue transformed into a nightclub ambiance the cast featured Euan Morton as George, Luke Evans as Billy, and Matt Lucas as Bowery, with choreography by Les Child and costumes by Mike Nicholls. Its year-long run and four Olivier nominations, including Best New Musical, marked it as a bold West End debut, despite mixed reviews on its book.

The Plot: A Tale of Fame and Flamboyance

Taboo unfolds in a derelict London warehouse, mirroring the real Taboo club’s 1985-1987 heyday. It follows Billy, a photographer navigating love and identity, who crosses paths with Boy George depicted pre- and post-fame and the extravagant Leigh Bowery, a performance artist opening his iconic venue. Amidst a swirl of New Romantic icons like Philip Sallon and Marilyn, the story blends fictional romance with George’s real struggles, from addiction to stardom. Act I peaks with Taboo’s launch, while Act II explores redemption and reinvention, culminating in a trip to India and a “Karma Chameleon” finale, balancing decadence with heartfelt reflection.

Standout Performances and Staging

Euan Morton’s Boy George was a revelation, earning praise from George himself: “He’s more me than I am.” Matt Lucas brought Bowery’s wild energy to life, while Luke Evans’ Billy anchored the emotional core. Paul Baker’s Philip Sallon won an Olivier for his acerbic wit, and Dianne Pilkington’s Kim added vocal fire. Renshaw’s direction, paired with Nicholls’ outrageous costumes think plastic bags and platform heels created a visual feast. The Venue’s intimate setup immersed audiences in the club vibe, with actors weaving through the crowd, a stark contrast to the West End’s grander stages, amplifying its raw, rebellious spirit.

Musical Score and Cultural Pulse

Boy George’s score pulses with 80s nostalgia, weaving Culture Club classics like “Do You Really Want to Hurt Me” and “Karma Chameleon” into a tapestry of new tracks like “Stranger in This World” and “Everything Taboo.” The music, co-written with Frost, Themis, and Stevens, blends pop with theatrical flair, earning nods for its catchy vulnerability. Critics lauded its melodies *The Telegraph* called it “terrific” though some found the book lacking depth. Still, it captured the New Romantic ethos, a defiant riposte to Thatcher-era gloom, resonating with audiences craving color and rebellion.

Legacy Beyond the West End

Taboo’s West End success spurred a Broadway transfer in 2003, backed by Rosie O’Donnell, with George as Bowery and Morton reprising his role. It faltered after 100 performances, losing O’Donnell’s $10 million investment. Back in the UK, a 2012 Brixton Club House revival and a 2022 London Palladium 20th-anniversary concert featuring George and Baker kept its flame alive. The original cast album and Broadway recording preserve its sound, while its launch of stars like Evans and Lucas underscores its impact. Boy George’s 2023 tease of a Manchester revival hints at its ongoing pull, a testament to its cult status.

Why Taboo Still Shocks and Shines

Taboo endures for its unapologetic plunge into 80s excess glamour, grit, and all. It’s less a polished history lesson than a visceral love letter to a subculture that defied norms, with George’s personal arc lending authenticity. Its West End run broke ground, spotlighting New Romantic defiance amid a sea of traditional musicals. From Baker’s Olivier win to its infectious score, it remains a glitter-dusted time capsule imperfect, audacious, and impossible to ignore proving that even in excess, there’s wisdom, and in taboo, there’s truth.