Theatre reviews: Priscilla Queen associated with the Desert, Playhouse, Edinburgh

Theatre reviews: Priscilla Queen associated with the Desert, Playhouse, Edinburgh

A young gay man is beaten up by local thugs IN a DARK street. Both in drama and in reality; and it’s no coincidence that it features in both of the big mainstage shows playing in Edinburgh this week, at the Festival and Playhouse theatres it’s a common scene. In Cabaret, it is the growth of Nazi violence from the streets of 1930s Berlin; as well as in Priscilla Queen of this Desert, it is a number of rednecks in a tiny city within the Australian bush using it down on Adam (also called Felicia), the young Sydney drag queen that has joined our hero Tick and their older trans buddy Bernadette for a riotous coach journey across Australia to Alice Springs, where Tick – now likewise a drag queen in Sydney – wants to reconnect with all the the son he fathered during a short marriage that is youthful.

Priscilla Queen of this Desert, Playhouse, Edinburgh **** | Still No Idea, Traverse Theatre, Edinburgh ****

Joe McFadden, Miles Western and Nick Hayes celebrate all of the camp joys of drag

On the basis of the famous 1994 movie – with book by Stephan Elliott and Allan Scott – the 2006 phase musical type of Priscilla is a celebratory coming-out show par excellence, revelling into the freedom to place queer tradition centre phase, and celebrate most of the super-camp joys of drag. This latest British touring version, featuring Joe McFadden, Miles Western and Nick Hayes catches all that explosive exuberance, although Charles Cusick-Smith’s costumes are now and again thus far on the top as to look more pantomime dame than glamorous drag queen.

McFadden acts beautifully as Tick (aka Mitzi del Bra), although he appears a color less more comfortable with the dance; and there’s support that is powerful just from their two other queens, but from Daniel Fletcher as Bernadette’s brand new admirer Bob, while the three fabulous singing divas – Aiesha Pease, Claudia Kariuki and Rosie Glossop – who work as guardian angels.

There was a presssing problem in regards to the portrayal of non-trans women in this show;

Tick’s estranged spouse scarcely features, so that as for Bob’s soon-discarded bride that is mail-order Thailand – well, the language offensive stereotype barely protect it. Yet it’s difficult to resist a show that expresses so much joy, and such an exciting feeling of a journey towards freedom; and Priscilla’s splendid magpie playlist of good tracks through the 80s and previous – ranging from Go western to I Will Survive – makes the show an irresistible good particular date, with impressive help from musical manager Sean Green, and a seven-strong real time band whose brilliant music-making raises the Playhouse roof.

If homosexual and trans men and women have frequently been victims of oppressive regimes and attitudes, then people who have disabilities usually fall target into the exact same variety of politics; and despite their light-touch, comedy-duo style, there’s an unforgettable part of serious governmental warning in Lisa Hammond and Rachael Spence’s effective show Nevertheless No Idea, co-scripted with manager Lee Simpson.

First produced nine years ago as No clue, the show recounts exactly just what occurred whenever Hammond – an actress that is four-foot a wheelchair – and Spence, a performer of strikingly “normal” look, sought out into the roads of London to inquire of individuals just exactly what their show should really be about.

The findings had been somewhat chilling, with interviewees initially determined that Lisa – together with her “cheeky face” – should be the primary character, but, definitely not able to write her as a narrative, when they had been expected to assume the way the tale should develop.

As well as in this brand new type of the show, Hammond and Spence explore ukrainian bride agencies not just just exactly how this experience ended up being replicated, for Hammond, whenever she became a cast user of the “long-running fictional drama series” – and then realize that her character ended up being never ever because of the major storylines she ended up being guaranteed – but also how the situation has deteriorated throughout the final ten years. The last image is of an chronilogical age of deep cuts in impairment advantages, growing general public punishment associated with the disabled, and a smug presumption in a few circles – maybe not least in theatre – that the situation of addition for disables individuals has been sorted.

All of it seems a tad bit more bearable, however, seen through the prism of Hammond and Spence’s friendship that is powerful things are tough, claims this peaceful but hard-hitting show, but never ever entirely without hope, or without humour.

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