Two drag queens have managed to squeeze 90 years of musical theatre into a 60 minute musical revue, and it is oh so fun!
Credit: Shazad Khalid
La Gateau Chocolat is one of Time Out London’s ‘Top 10 Cabaret Stars’, and Jonny Woo is a comedian, and one of London’s leading figures in cabaret and alternative variety. Together they are the self-proclaimed ‘French and Saunders of Drag’.
The show opens with them both performing Chicago‘s ‘All That Jazz’, wearing large Mickey Mouse style hands, a hilarious touch, and a great opening number to the show, which lets the audience know from the start that this is going to be silly!
Throughout the show lyrics are altered, rearranged and parodied, albeit not every number, there are some which are simply performed in their original form. There are some moments of pure comedic genius, there is The Little Mermaid’s ‘Part of That World’ performed by Le Gateau Chocolat, adorned in sequins, and a crab bra, whilst Jonny Woo appears onstage as a shark. There is also a rendition of ‘Memory’ from Cats, which is hilariously remixed with Khia’s ‘My Neck, My Back’.
An aspect I thoroughly enjoyed, and was very impressed by, was the costume design. Every single musical number had a different costume, each of these were instantly recognisable – you knew exactly who was being portrayed throughout. And some seriously quick costume changes took place! The Little Mermaid and Cats costumes were particular highlights, and an incredible number of sequins were onstage throughout.
By their own admission, the links between the songs are tenuous – and at times I found that they took rather a long time to introduce the next number, which unfortunately disrupted the pacing of the show somewhat.
La Gateau Chocolat’s baritone voice is truly the highlight of the show. Their tender, heartfelt performance of ‘Hopelessly Devoted To You’ was a wonderful tribute to the late Olivia Newton John. They also utilised their low tones in their comedy throughout the show, which worked marvellously. Their facial expressions, and looks at Jonny throughout the show, were also hysterical.
Credit: Shazad Khalid
Although a whole lot of fun can be had watching this show, I couldn’t help but feel that more could be done with it. The show does exactly what it says on the tin (or in the title), and nothing more. Some of the parodied lyrics worked wonderfully, whereas others could have been amped up more. I also wished there had been more variety in the songs performed. There were multiple songs performed from the same musicals, and it would have been nice to have seen more musicals showcased throughout. The show is a wonderful, unique concept, and some aspects worked really well here. I’d be very excited to see how the show progresses, and to see future work by these fabulous performers.
Despite my gripes, this show makes for a great, musical-filled night out. You can expect outstanding costumes, some wonderful performances, to dance the ‘Time Warp’, and even some nudity!
⭐⭐⭐⭐
Rating: 3.5 out of 5.
{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}
The infamous Sh!t Faced Showtime are back in London with a festive edition, they have taken Dickens’ classic and put a drunken spin on it. The formula is the same as other iterations of the Shi!t Faced shows, one member of the cast has been boozing, and this time it is John Milton who plays Scrooge. Before the show, half a bottle of Jim Beam, some wine, and beer have been consumed in the previous 4 hours. The rest of the cast, try to keep the show on track, also aided by James Murfitt as the compere, Charles Dickens. The … More A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
Spine-tingling yet heart-warming, Mark Gatiss’s retelling of A Christmas Carol truly encapsulates the haunting atmosphere of a Victorian ghost story, balanced out with enough humour so as to capture the festive season. Led by Keith Allen as Scrooge, with Peter Forbes as Marley, this show is perfect for Christmas viewing. The set design by Paul Wills is instantly captivating, containing stacks of metal cabinets towering over the theatre, moveable by the cast to allow space for other central props like doors, beds and tables. In addition to this, the puppetry design by Matthew Forbes is incredibly clever, adding creepy elements to the show such … More A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
The title of this winner of Theatre 503’s 2023 International Playwriting Award by Roxy Cook may seem like the set-up to a joke, but the narrative that unspools is instead an affectionate, gently barbed and at base quite sobering portrait of three ordinary souls (and one restless feline) adrift in modern Moscow. There is much affable, satirical back-and-forth commentary on the accepted myths & stereotypes of the Russian spirit & soul. Beset by the indignities of age, opportunism, graft, fatigue, the characters orbit one another, doomed to play out their roles in an unjust, predatory and saturnine universe. The play opens … More A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
Peter Pan Goes Wrong first premiered in London at the Pleasance Theatre in 2013, and earlier this year the show made its Broadway debut. Now the production is back in the West End for the Christmas season. Following on from The Play That Goes Wrong, in this production, J.M. Barrie’s Peter Pan is staged by the fictitious Cornley Polytechnic Drama Society and goes awry, disastrously so. The meta-comedy is filled with slapstick comedy, sometimes the humour may be predictable and silly, but it’s universally funny throughout – there is something for everyone here, and the laughs come thick and fast … More PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
Drawing heavily from the classic canon of the British supernatural, HighTide’s trio of contemporary Gothic narratives uses traditional storytelling formats to address contemporary themes. Directed by Elayce Ismail, reverent musical interludes accompany tales of apparitions and nighttime conjurings that speak of women from the East of England. Unfortunately, the effect is less chilling and more lightweight, with conventional structures, predictable plot twists and an over-reliance on external forces to drive narrative shoring up some of the less relatable aspects of the genre. Nicola Werenowska’s The Beach House, perhaps the cleanest of the three tales, tells of a mother and daughter’s … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE