FABULOUS CREATURES - REVIEW

‘We used to kill, but now we cabaret’. Drawing on epic works including Homer’s The Odyssey, co-writers Emily Louizou (Director) and Quentin Beroud (Lyrics) tell the stories of these ‘monstrous’ women through song, rap, cabaret, and dramatic scenes. The Arcola’s underground studio is a fitting location for a story of ‘monsters’ who dwelled in caves, seas, and now, a cabaret club. Our three stars: Charybdis (Hannah Van Der Westhuysen), Siren (Jazz Jenkins), and Scylla (Kate Newman), take us on a journey of vilification, loss, and courage.

An ominous voiceover calling ‘Hello Strangers’, warns us we have no idea what we’ve gotten ourselves into, heightening the comedy when Van Der Westhuysen appears as our host. Styled with a mixture of cyberpunk and rave elements (Ismini Papaioannou), Van Der Westhuysen oozes infectious energy as they explore the crowd and introduce us to their fellow Fabulous Creatures. Louizou and Beroud’s witty writing is delivered with excellent comedic timing by Van Der Westhuysen, leaving the audience in fits of laughter. Jenkins’ Siren is dressed in a mix of cottage and regency style with ruffles and exposed cages, whilst Newman appears covered in wigs, carrying a bloody head as a handbag. The personalities of each character are effectively communicated through their looks, although the completeness and polish of these looks varied between the actors, with Van Der Westhuysen having the most put-together look; whether this is a deliberate comment on the characters is not clear.

The three together are witty and self-effacing, and their delivery of both dark humour and camp stupidity is endearing. Newman spends the first scenes only barking and growling, which she manages to make hilarious. Whilst Jenkins’ coquettish but badass approach to Siren is really delightful, she absolutely has the voice to back up the warning of its power.

Beroud and Irene Skylakaki’s (Music & Sound) songs are augmented by girlband choreography (Ioli Filippakopoulou) which is reminiscent of SIX The Musical. The dry humour and cadence of the raps brought the beloved charm of Horrible Histories songs like Charles II King of Bling. Whilst the songs have fun moments, they are often one-dimensional and feel as though they go on too long. This was certainly evident in Siren’s first song, she stays still on one side of the thrust stage, leaving the burlesque promise of the song and her feathered fan undelivered.

Conversely, Newman’s burlesque background shines in her story of Scylla, maintaining animalistic characterisation with such controlled movement, particularly impressive when she was tethered to her furry throne by her leash! Scylla’s choice was between being a sex slave or independent and a ‘dog-faced monster’. The ridiculous nature of this choice feels current, given the terrifying viral conundrum of whether a woman wants to be stuck in the woods with a man or a bear. Newman manages to be sarcastic and monotone, yet stays completely engaging and hilarious.

When the glittery curtain is drawn back to review the dressing room, the show takes a turn away from comedy, towards the dramatic and unfortunately loses its impact and engagement. The choice to introduce a mortal version of the mythological Clytemnestra feels shoehorned to provide a reason for the retired Fabulous Creatures to return to their former role as killers and help kill Clytemnestra’s abusive and murderous husband.

Unfortunately, in just 85 minutes, the mission to help Clytemnestra feels rushed and convoluted. It is not clear what the message is. That you have to be in your story to change it? That destiny decide what you do? Or should the audience be questioning the morality of the whole decision to kill someone?

The ‘mission’ felt reminiscent of Michaela Coel’s I May Destroy You, unapologetic in the choice of violence, when there is no other option. This production seems to want us to question whether we condone the choice to kill, however, I felt slightly adrift, missing the earlier wit and sarcasm. Despite well-delivered dramatic monologues from all three actors, the ‘mission’ falls flat and so does the final number which does not quite manage to be empowering.

I respect the undertaking of telling these creatures’ stories and bringing women to the fore, but Fabulous Creatures lost itself in too many messages and wasn’t quite as fabulous as I hoped.

{🎟 AD: PR Invite – Tickets gifted in exchange for an honest review}

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