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Dick Whittington

Dick Whittington

★★★★

Phoenix Theatre

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Dick Whittington

Dick Whittington

Phoenix Theatre

Reviewed – 12th December 2021

★★★★

 

“will get nearly anyone clapping and singing along with its glittery charm”

 

The tale of Dick Whittington and his cat is a Christmas classic with the future Lord Mayor of London’s valiant work of ridding the country of rats by way of his feline friend having delighted theatre-goers for hundreds of years. TuckShop, founded by Christopher D. Clegg and director of their new Christmas show, offers a new interpretation; one that dives headfirst into camp absurdity and is no stranger to a double entendre.

And what better story for a drag reimagining than one with a Dick and a Pussy (Cat) as its stars! The newly opened Dick Whittington at The Phoenix Theatre boasts an incredible cast familiar to any Drag Race fan.

Drag Race UK Season One favourite Cheryl Hole plays the titular role accompanied by Elektra Fence as her loyal feline Cat Slater (“with a C, because it’s different!”) in their mission to defeat the Rat King (Season Three alumnus Choriza May) who threatens to overrun Soho with her rodent minions. The duo meets all sorts of colourful characters on their quest, from Dame Sarah Can’t Cook Won’t Cook (Yshee Black) and her daughter (and inevitable love interest) Alice (River Medway) to the incredible Ophelia Love as ‘Ensemble Member No. 4’ who makes the most of her variety of small roles from safe to angry Yorkshireman.

Drag kings Richard Energy and the smooth-taking Beau Jangles play marital shop owner Daddy Fitzwarren and the Lord Mayor respectively, and the intoxicating Kitty Scott Clause guides the story chaotically along as the Spirit of Soho.

Hole is a wonderful lead and brings the most professionalism to the cast whilst Fence provides a great foil for Hole’s enthusiastic Dick (no pun intended) and keeps the audience engaged with regular call and response. May brings her signature flare to her villainous casting and dazzles in stunning neon green and black outfits and Kitty leaves both the audience and fellow cast mates in stitches at her absurd ad libs (including a Cilla Black impersonation).

Medway is not the most confident on stage, but it is no surprise as she understudies for Australian queen Karen From Finance who tested positive for Covid during the week. Given only two days to learn the script, Medway does surprisingly well and plays up to her lack of rehearsal time in the second half particularly to much laughter.

The audience is treated to a mix of live singing and lip syncs. Stand-out performances are delivered by Jangles with his swing version of Cardi B’s WAP and the outrageously filthy 12 Days of Christmas parody featuring bags of cocaine, dildos and leather whips led by Energy. The show, of course, could not miss the opportunity to host a lip sync for your life in true Ru Paul style and poke fun at Medway and May’s shock double-elimination in Season Three. Indeed, references to the UK series are abound and without at least a base knowledge of the show and each queen’s performance in their respective season, several jokes are lost.

The set is not particularly inspired – a basic backdrop of a London alley with post box – but the panto is limited by musical Come From Away playing on the same stage for much of the week. The set’s simplicity is most notable when the characters board a ship with only paper sailor hats to show their change of scenery, but this is played well for laughs.

More disappointing perhaps was the lighting which was often ill-used – many times, the speaker was shrouded in darkness, the spotlight on some other part of the stage entirely. The sound was also poorly executed at times. The soundtrack – both original songs and covers – is great but backing tracks boom over live singing with Kitty completely drowned out in her opening number as one example. However, as the show leans into its unpolished character, it is hard to be too upset about these oversights.

This new production of Dick Whittington is incredible fun and will get nearly anyone clapping and singing along with its glittery charm. For a night of drag ridiculousness this festive season, this is the show to see.

 

Reviewed by Flora Doble

Photography by Corinne Cumming

 

Dick Whittington

Dick Whittington

Phoenix Theatre until 9th January

(Tuesdays and Sundays only)

 

Previously reviewed by Flora this year:
Dog Show | ★★★★★ | December 2021
Flushed | ★★★★ | October 2021
Ginger Johnson & Pals | ★★★★ | June 2021
Godot is a Woman | ★★★½ | June 2021
Jersey Boys | ★★★★ | August 2021
Myra Dubois: Dead Funny | ★★★★ | September 2021
Sh!t-Faced Macbeth | ★★★★★ | July 2021

 

Click here to see our most recent reviews

 

Myra Dubois: Dead Funny

★★★★

UK Tour

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Myra DuBois

Myra Dubois: Dead Funny

Garrick Theatre

Reviewed – 6th September 2021

★★★★

 

“DuBois is an exceptionally funny performer and certainly knows how to put on a show that will leave anyone in stitches”

 

Who wouldn’t want to attend their own funeral? With the opportunity to listen in to heartfelt eulogies from your nearest and dearest, you can’t go wrong. Certainly, that is how Myra DuBois, award-winning drag persona of Gareth Joyner and 2020 Britain’s Got Talent semi-finalist, sees it, using the theatrical plot device of her own death to stage a show in celebration of, you guessed it, herself. The new genre of theatre which she entitles ‘snuff cabaret’ takes us through the dearly departed’s highs and lows from her majestic birth (a star is born) to her questionable entanglement with her ex-wellness guru.

DuBois’ wit is unparalleled, especially when interacting with the audience. A particularly hilarious moment came when DuBois asked someone whether they had seen her perform before to which they said they had at a pub in Chiswick only a few weeks prior. Myra’s indignation at being reminded of such ‘lowly work’ whilst upon a West End stage was simply brilliant and became a recurring joke throughout the show. The queen’s comedy never lets up and barely a minute goes by without some sort of punchline or biting insult being hurled at those sat in the first few rows of the stalls. An extra bonus were those jokes directed at the audience at home as the show was being streamed online for those antsy about returning to live venues.

DuBois delivers three punchy musical numbers, the first to open her set emphasising just how ‘D E A Dead’ she really is. She goes on to sing about how selfish it would be for her to be an organ donor (as only one person rather than the masses would benefit from her sacrifice) in a jaunty ‘Always Look on the Brightside of Life’ style tune. The show closes with a rousing rendition of Elaine Paige and Barbara Dickson’s I Know Him So Well with Myra and the audience assuming these roles respectively.

Before Myra took to the stage however, Frank Lavender, a self-entitled sex symbol from south Yorkshire, warmed up the audience with an amusing yet near painful repetition of a series of ‘dad jokes’ which frequently elicited audible groans arose from the audience. Though his set was enjoyable, especially the sections featuring his second wife (and DuBois’ plainer twin) Rose, this was a questionable way to open the show as Lavender’s comedic stylings were unlikely to energise the audience. Followed as well by a lengthy thirty-minute break before Myra’s set, the first hour of the show lacked momentum though was quickly forgotten once DuBois stepped on stage.

Rose returned to the stage throughout the performance to support DuBois. Her most notable contribution was reading a poorly rhymed poem to honour her ‘deceased’ sister. Rose’s presence offered some variety and allowed for further brilliance from DuBois as she berated her less glamorous sibling.

The set is simple but highly effective. Four white columns topped with flowers frame the stage with an urn and large image of the departed at the centre. DuBois lamented how she wanted the stage to look like Buckingham Palace in 1997 but it in fact looked more like a school gate after a car crash with one bunch of gas station flowers discarded on the floor (just once example of the queen’s outrageous humour). The lighting was variable and playful, moving effortlessly between dramatic spotlights to colourful fanfare. DuBois looked phenomenal as well, her vintage hair and make up dazzling in the West End lights.

It is no surprise that Myra has such a dedicated legion of fans (which she brilliantly calls AdMyras). DuBois is an exceptionally funny performer and certainly knows how to put on a show that will leave anyone in stitches.

 

 

Reviewed by Flora Doble

Photography by Holly Revell

 


Myra Dubois: Dead Funny

UK Tour continues until January 2022

 

Previously reviewed by Flora this year:
Ginger Johnson & Pals | ★★★★ | Pleasance Theatre | June 2021
Godot is a Woman | ★★★½ | Pleasance Theatre | June 2021
Sh!t-Faced Macbeth | ★★★★★ | Leicester Square Theatre | July 2021
Jersey Boys | ★★★★ | Trafalgar Theatre | August 2021

 

Click here to see our most recent reviews