Tag Archives: Omnibus Theatre

Drag me to Love – 3 Stars

Drag

Drag me to Love

Omnibus Theatre

Reviewed – 3rd February 2018

★★★

“an infectiously fun and flirty show combining drag performance with theatrical storytelling”

 

You can’t ask for much more out of your Saturday night when it includes stilettos, glitter, Gloria Gaynor and neon wigs. Drag Me To Love does all of the above. Featuring as part of the Omnibus Theatre’s ’96 Festival, a celebration of all things LGBTQ, it is an infectiously fun and flirty show combining drag performance with theatrical storytelling. This autobiographical fare features the all lip-synching, all dancing trio Bonnie and The Bonnettes, who relay in their own quirky manner, how they were brought together, to this moment in time.

Following the life of founding member Cameron Sharp, it is a coming-of-age story that tells the tale of growing up in Doncaster. It is filled with the usual pubescent worries and fears of trying to figure out who you really are. Sharp is soon drawn into the sparkly (if not slightly run down and sticky-floored) world of a local drag bar. Bagging a job of cleaning glasses, to earn his keep, it doesn’t take long before he has merited the chance to have a slot on stage. With a flurry of fishnets and fake lashes, learning the tricks of the trade from the more experienced queens, Sharp blossoms into his new, feisty, drag identity, Bonnie Love.

The other two-thirds that make up Bonnie and The Bonnettes, Hattie Eason and Becky Glendenning, take on the supporting roles, playing the various characters that stumble in and out of Bonnie Love’s life, until eventually they are themselves. Eason lends her powerful singing voice to the songs that Sharp lip-synchs to, whilst Glendenning (whose comic timing resembled that of Dawn French) offers a side splitting ribbon dance that is a highlight of the production.

Drag Me To Love certainly moves along at a fast pace. Coming in at just under an hour, the trio bounce from song to song, with the slight story slotted in-between. The magazine-style top ten lists about the dos and don’ts of making it as a drag queen suit the punchy, in-your-face nature of the production. However, the main bulk of the storytelling seems flimsy, as if it is only there to bulk out the lip-synching drag performances. It is wonderful to get to see underneath the drag queen persona, and Cameron Sharp does a fine job at presenting these moments of vulnerability and self-doubt. Nevertheless, the production could just do with extending these quieter, more dramatic moments that have more bite – they have the time! This would offer more of a varied change from the whimsical yet very charming display of foot stomping, crowd pleasing, diva-worshipping song and dance routines that are so utterly difficult not to smile and sing along to.

 

Reviewed by Phoebe Cole

Photography by Chris Bishop

 

Omnibus Theatre

Drag me to Love

Omnibus Theatre

 

 

Click here to see more of our latest reviews on thespyinthestalls.com

Badback Mountain – 1 star

Badback

Badback Mountain

Omnibus Theatre

Reviewed – 23rd January 2018

“their seeming discomfort bled into the audience, from which came a palpable feeling of unease”

 

Badback Mountain is billed as ‘a funny and poignant evening of Alt Country music and canny theatrics’. It disappoints on all fronts. The premise was ill-thought through, the jokes would not have been out of place in a cheap Christmas cracker, and the music was middle-of-the-road rock ‘n’ roll with only the merest nod to Nashville. Although Jonathan Holloway seemed a good deal more relaxed on stage than his co-star Liam Grundy, both performers seemed aware of the stilted nature of the filler dialogue, and their seeming discomfort bled into the audience, from which came a palpable feeling of unease. Laughs were thin on the ground and the post-song applause was sparse throughout.

One of the evening’s main problems was that it was never clear what exactly we were watching. The vague overarching premise was two friends, getting on a bit in years, going up to Edinburgh with a show. At the beginning, it seemed that we were sitting in on a rehearsal, with a named off-stage sound engineer called Hope. There was one forgettable folky number in this section – No Girl in Tennessee – but quite what the song had to do with The Rockford Files, which our heroes were apparently basing their show around, remained unexplained. Hope then disappeared and there were some drunken office-party antics from Holloway, with a blonde wig and some rubber bands, which allegedly fed into The Rockford Files skit, but then this too melted away, and suddenly we found ourselves looking at a flip chart diagram of the Pleasance, which had now become the scene for their planned heist. If this sounds messy and incomprehensible, it’s because it was. And the songs seemed to have no relationship with any of these narratives, nor much to speak of with the country music tradition. 24-7, 365 was a reasonable rock’n’roll number, but why was it there?

Why was there a catbox containing an invisible cat named Brexit? Why did the two Starbucks coffees brought in at the beginning remain untouched for the length of the show? Why was the show named Badback Mountain? And why did Grundy and Holloway choose to make this a piece of theatre? They obviously get on famously and enjoy making music together. And it did seem as if everyone would have had a lot more fun if we’d all been in a nice pub somewhere, with a few pints on the go.

 

Reviewed by Rebecca Crankshaw

 

Omnibus Theatre

BADBACK MOUNTAIN

Omnibus Theatre until 28th January

 

 

Click here to see more of our latest reviews on thespyinthestalls.com