GISELLE: REMIX at the Pleasance Theatre

★★★★★

“a must-see – a piece of queer performance that is not to be missed”

Adolphe Adam’s romantic ballet Giselle tells the story of a young peasant girl who falls in love with the disguised duke, Albrecht. Driven mad by the revelation of his true identity, Giselle joins the deadly sisterhood of the Wilis, the ghosts of spurned women who seek revenge on their former lovers by dancing men to their deaths. GISELLE: REMIX – created by Jack Sears and Hannah Grennell and produced by Molly McGeachin at The Project People – reworks these universal themes of love and the loss of innocence through a queer perspective, reimagining Giselle (Sears) as a heartbroken queer individual who turns to the community’s sometimes overly sexual nightlife to satisfy their need for belonging.

Accompanied by a lively dance troupe (Harri Eiffert, Elle Fierce, Spike King and Marie Astrid Mence), Giselle explores her feelings of shame, assimilation and anger before eventually finding comfort in the camaraderie of the queer community, looking up to her elders and setting an example of queer joy and liberation for the next generation.

GISELLE: REMIX is a tour de force of lip sync, comedy, dance and cabaret. The choreography – a collaboration between Sears, Grennell and the troupe – is truly wonderful. The cast’s energy is incredible – the dancers writhe around the stage with outstanding finesse and Sears provides a powerful focal point. A particular highlight is a highly erotic dance to Anal Sex by Only Fire – the cast move seamlessly together, using their few bodies to successfully create the feeling of a packed, sweaty club. The production is accompanied by a brilliant soundtrack of queer icons and hyperpop bangers from Natalie Cole to the late SOPHIE.

The show features some wonderfully playful sound design (Rhys Cook AKA Oberon White) – most memorable being a hilarious mashup between sounds from male gay porn and famous declarations of love from television and film. The lighting (Lucy Adams) is masterfully atmospheric – it changes flawlessly between scenes and the mood on stage.

The set (Blythe Brett) is very plain – a round stage that has audience seated at its very edges for maximum engagement opportunities. There are no props and only rare appearances from a stool. Good use however is made of the stages various entrances and exits – the troupe regularly disappear and reappear from a staircase at the back of the stage as well as tumbling from the left, right and back for more dynamic entrances.

The costumes (Laura Rose Moran-Morris) are well conceived. The cast begin wearing soft pastels and tulle ballerina skirts before casting these off in favour of leather and fetish wear. Their movements also change significantly throughout the show – what was once smooth is now erratic; Giselle’s innocence from the opening scenes completely discarded. Sears puts on an especially amazing performance when dressed in a gimp suit, lip syncing aggressively to a rather frightening audio about various fetishes. Positioned on all fours, he bangs and grips the floor and fabric around him, violently ejecting a near-nonsensical stream of conscious.

My only criticism is that of the guest performer. Each show is to feature a guest performer – Kit Green, Jonny Woo, or Lavinia Co-op – depending on the date and the foremost present for press night. GISELLE: REMIX began with a lip sync from Green that was unfortunately wholly lacklustre.

Their choice of song was far too slow and though they injected some humour through breaking their lip sync and requesting the audience undress them, their asides were lost on anyone not in the very front row. Their performance was also quickly forgotten when the commanding stage presence of Sears and the captivating movement of the dance troupe took over. Green appeared again at the very end of the show – offering a comforting hand to Giselle-cum-Sears as they realised the power in standing united with your fellow marginalised people, but their particular presence added no real value. Hopefully, subsequent guests bring a matching vigour to the show.

GISELLE: REMIX is a must-see – a piece of queer performance that is not to be missed. It is exciting to think of what Sears, Grennell and The Project People may do next.

GISELLE: REMIX at the Pleasance Theatre

Reviewed on 12th April 2024

by Flora Doble

Photography by Ali Wright

Previously reviewed at this venue:

GWYNETH GOES SKIING | ★★★ | February 2024

CASTING THE RUNES | ★★★ | October 2023

DIANA: THE UNTOLD AND UNTRUE STORY | ★★★★ | November 2022

DIRTY CORSET | ★★½ | April 2022

SHE SEEKS OUT WOOL | ★★★★ | January 2022

DOG SHOW | ★★★★★ | December 2021

LIGHTS OUT | ★★★★ | October 2021

CATCHING COMETS | ★★★★ | September 2021

EXPRESS G&S | ★★★★ | June 2021

GINGER JOHNSON & PALS | ★★★★ | June 2021

GISELLE: REMIX

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★★★★

“Pilkington and Vyvyan have amazing chemistry – their friendship and shy flirting seems entirely natural”

Cowboys and Lesbians, written and directed by Billie Esplen, is a queer romantic comedy about 17-year-old best friends Nina (Julia Pilkington) and Noa (Georgia Vyvyan). In their last year at secondary school, they are ready for the adult world and all that their young minds perceive it to entail – the freedom, choosing washing machines, and, most importantly, sex. Outside of school responsibilities, the two fantasise about their futures and a satirical Hollywood romance set in the Old West. Full of cliches, the teenage duo uses this story to explore their feelings for each other and their budding queerness.

The play fluctuates between scenes of Nina and Noa sitting on a bench discussing their hopes and dreams and scenes from their fantasy romance. In the latter, we meet the histrionic small-town girl Abigail – played by Vyvyan – who has dreams of making it to the unspecified Big City. One day, the charming Carter – played by Pilkington – joins her ranch as a farmhand and plays out every stereotype of a tough but sweet cowboy that you can imagine. The two, as expected, fall in love despite violent objections from Abigail’s older brother Jebediah and the intellectual interference of Abigail’s mentor Finneas. It must be commended how easily the pair move between the numerous roles – quick costume changes, exaggerated accents and great physicality do wonders here to help the audience along.

In both plotlines, the theme of stuckness is key – we see the lives of characters who feel that they have nowhere to go and must conform to what is expected of them whether that to learn to be a traditional housewife for the farm or go out to late night gigs in Bethnal Green. The most touching scenes are when Nina and Noa talk to Abigail and Carter respectively about their secret love and are encouraged to take the chance and be together when their created characters could not.

Pilkington and Vyvyan have amazing chemistry – their friendship and shy flirting seems entirely natural. The former is particularly strong as Carter who swaggers around and poses melodramatically whenever possible. The duo is also very funny – they have a great grasp of comedic timing, and their delivery is always strong and purposeful.

The set (Esme Solomon) is elementary but effective – the façade of a barn with wood-panelling and saloon doors to enter and leave the stage. A simple block sits in the middle of the stage on which the two friends sit as they compose their imaginary world. Pilkington and Vyvyan occupy the space well – making use of all the various props – such as the ladder and washing line – to add movement and intrigue to their dialogue. The lighting (Jamie Platt) works well with the set – a range of colours implemented depending on the time of day and the mood on stage.

There is an undeniable predictability in Cowboys and Lesbians, and it is full of well-worn cliches. Nevertheless, the play seems relatively self-aware, at times mocking its own reliance on the classic romantic structure of cinema and TV. Occasionally, the script shifts into the twee rather than the satirical which can make some moments of awkward teenage fumbling thoroughly cringey to watch. Overall, however, the play hits the right tone, and you can’t help but ‘awww’ when our protagonists finally have their first kiss.

It is a joy to see a queer coming of age story played out on stage. You will certainly laugh but you will also be touched by the naïve sweetness of it all. A well-executed and thought-out play.

GISELLE: REMIX at the Pleasance Theatre

★★★★★

“a must-see – a piece of queer performance that is not to be missed”

GISELLE: REMIX at the Pleasance Theatre

Reviewed on 12th April 2024

by Flora Doble

Photography by Ali Wright

Previously reviewed at this venue:

GISELLE: REMIX

GISELLE: REMIX

COWBOYS AND LESBIANS at the Park Theatre

★★★★

“Pilkington and Vyvyan have amazing chemistry – their friendship and shy flirting seems entirely natural”

COWBOYS AND LESBIANS at the Park Theatre

Reviewed on 23rd February 2024

by Flora Doble

Photography by Ella Pavlides

Previously reviewed at this venue:

COWBOYS AND LESBIANS

COWBOYS AND LESBIANS