Tag Archives: Lavinia Co-op

Escape From Planet Trash

★★★

Pleasance Theatre

Escape From Planet Trash

Escape From Planet Trash

Pleasance Theatre

Reviewed – 21st November 2019

★★★

 

“combines drag, sci-fi and innuendo galore to create the perfect foil for the abundance of family-friendly shows on for the holidays”

 

It is the year 2050. Earth is no more and is instead known as Planet Trash, the dumping ground for the entire universe. East London drag queen Ginger Johnson and her 28-year-old son Sonny (David Cumming) are its last survivors and spend their days foraging through rubbish. That is until an impending solar flare threatens to obliterate the planet and a discarded weapon that the Intergalactic Government is desperate to get its hands on. Cue the arrival of the Captain of the Star Corp voyager (Mairi Houston) and the ambiguously gendered Private P. P. Parts (Mahatma Khandi).

Their quest, however, soon turns sour when an army of mutant turkeys decide to seek revenge on the human race for having eaten them at Christmases past. Now, it’s up to Ginger and Sonny to save the day and stop the eradication of mankind. Sink the Pink’s brand-new seasonal production Escape From Planet Trash combines drag, sci-fi and innuendo galore to create the perfect foil for the abundance of family-friendly shows on for the holidays.

Johnson and Cumming are the strongest in their roles, with the former having no trouble working the crowd. The rest of the cast sadly do not always seem sure of themselves or their lines. The plot that is set up in the play’s opening scenes is unfortunately rather quickly forgotten. Loose ends are rife in this production and the solar flare and ever-so-important weapon hardly get a look-in.

There are some moments of serious commentary. The play reflects on the climate crisis and capitalist greed and drag artists Maxi More and Lavinia Co-op join the cast as two dark tourists travelling the galaxy. Silliness however wins out in Escape From Planet Trash but without a solid narrative – which Ginger in fact jokes about the play needing – it is hard to be fully invested.

The set is multi-tiered with characters able to ascend and descend several sets of stairs. This makes for some dynamic visuals even when little else is happening on stage. To the left of the stage, the entrance to a sewer pipe and, above it, the interior of Star Corp’s spaceship. To the right, the tin shack house of Ginger and Sonny complete with rooftop terrace and light-up HOME sign. The centre of the stage sits on a rotating platform which allows for some great reveals such as Lavinia tap dancing as the Johnson’s home spins around. The set did pose a few hiccups including the shack’s door swinging open unexpectedly and revealing actors preparing for the next scene.

The lighting (Clancy Flynn) is solid throughout and used atmospherically. Costumes (Julia Smith) are a lot of fun with Ginger wearing a particularly ostentatious white plastic see through mesh bodysuit with a clear plastic overcoat.

The musical direction (Sarah Bodalbhai) is overall very strong. A rendition of Always Look on the Bright Side of Life from Monty Python’s Life of Brian (which the cast sing to a literal piece of shit played by Lavinia) that ends with a reference to the ‘dis-gus-tang’ video meme is a definite highlight. All the songs are a real blast though the cast do struggle to get the audience to sing along even at moments which beg for it. A finale song would also be good to round off the show in true pantomime fashion.

Escape From Planet Trash is a barrel of laughs and as silly as it is campy. Though the production lacks polish at times, you would be hard-pressed to not enjoy Sink the Pink’s newest endeavour.

 

Reviewed by Flora Doble

Photography by Ali Wright

 


Escape From Planet Trash

Pleasance Theatre until 22nd December

 

Last ten shows reviewed at this venue:
The Accident Did Not Take Place | ★★ | October 2019
The Fetch Wilson | ★★★★ | October 2019
The Hypnotist | ★★½ | October 2019
The Perfect Companion | ★★★★ | October 2019
The Unseen Hour | ★★★★ | October 2019
Endless Second | ★★★ | November 2019
Heroin(e) For Breakfast | ★★★★★ | November 2019
Land Of My Fathers And Mothers And Some Other People | ★★★★ | November 2019
Madame Ovary | ★★★★★ | November 2019
Wireless Operator | ★★★★ | November 2019

 

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Jonny Woo’s Un-Royal Variety – 5 Stars

Variety

 Jonny Woo’s Un-Royal Variety

Hackney Empire

Reviewed -20th October 2018

★★★★★

“this annual festival is a joyous celebration of the scene in all its camp, disruptive naughty glory”

 

This is the third year for Jonny Woo’s queer, sexy, ribald, irreverent take on this most British of formats, and it’s clear that this fabulous evening has now rightly taken its place in London’s alternative social calendar. London now leads the world in queer performance, and this annual festival is a joyous celebration of the scene in all its camp, disruptive naughty glory. Jonny is the perfect host – witty, warm and salacious in equal measure – and Julian Smith’s costumes are delicious throughout. It is a long evening, at four hours, but the acts come fast and furious and are well-balanced enough that time flies by. This reviewer has to confess to being utterly disabled by laughter on more than one occasion – a treat indeed.

The whole show is cheerfully sweary from beginning to end, but there is a clear tonal arc to proceedings, and the second half is significantly filthier than the first. If you blanch at nudity and overt drug references, this is really not the night for you! After an explosive opening number, which sets the scene for the gender play throughout, the show begins with supremely professional high-camp drag from Myra Dubois. She opens the floodgates for the surge of talent to follow, and it is worth remembering that the energetic silliness of acts such as Garry Starr (Damien Warren-Smith’s brilliant comedy alter-ego), as well as the anarchic scratch-punk world of Christeene and Lucy McCormick, demand a high degree of artistic skill. Similarly, for those who might dismiss Lip Sync, Rhys Hollis’ mind-blowing routine – a fierce, sexy mash-up of Nicky Minaj, Missy Elliott and more – was a lesson in performance precision.

And there are voices too. From Sooz Kempner’s belting rendition of the Chorus Line favourite The Music and the Mirror, to the magnificent surprise of comedienne Jayde Adams’ huge operatic soprano, unleashed after her whip-smart comedy set, to Carla Lippis’ in-your-face and dangerous ‘I’m a Liar’, the Hackney Empire resounded with song throughout the evening. Special mention must also go here to the wondrous Theresa May choir – in splendid voice as well as being eye-wateringly funny. Laughter is nigh on continuous for the duration of the show, and every audience member will come away with highlights. Bourgeois & Maurice’s outrageous and lyrically brilliant take on overpopulation – Babies – and Mawaan Rizwan’s unique blend of song, dance and stand-up were personal favourites.

It is to Woo’s credit that important issues affecting the LGBTQIA+ community were woven in to the show’s glittering fabric – the importance of pronouns, trans equality, femme visibility and female visibility were all part of the tapestry. Equally, the terrific sketch between Le Gateau Chocolat and Adrienne Truscott was an affectionate poke at well-intentioned woke behaviour. The facility for self-parody is the surest sign of confidence, which Jonny Woo and this exceptional line-up exude from their pores. All Hail Their Majesties. Long May They Reign.

 

Reviewed by Rebecca Crankshaw

Photography by Studio Prokopiou

 


 Jonny Woo’s Un-Royal Variety

Hackney Empire

 

 

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