“ShayShay’s writing is undeniably queer and will make any friend of Dorothy proud”
Twenty years after her original trip, Dorothy – now non-binary, going by Doro-they or Dor to their friends (Lily Downes) – has returned to Oz to find an abysmal state of affairs. The Good Witch (Grace Kelly Miller) – Kelly, born in Oz, thus, Kelly Ozborn – is in the running for power but a great blizzard threatens to freeze everyone in a matter of hours. Dor finds themselves teaming up with old friends Scarecrow (Sara Nelson), Tin (Fizz Sinclair) and Lion (Milla Sutton) once again to save their beloved Oz by hunting down the assumed perpetrator The Wicked Witch of the West (Fèyi Wey). Puns and innuendo abound, The Witches of Oz – written and directed by ShayShay – treats its audience to a wickedly talented cast who offer singing, dancing and comedy all in equal strength.
The pop culture references are rife from The Wicked Witch’s name Adele Dazeem (an infamous faux pas by John Travolta as he tried to pronounce Idina Menzel) to Tin and Lion’s romantic duet of Take a Chance on Me as they walked across tables like Julie Walters in Mamma Mia. ShayShay’s writing is undeniably queer and will make any friend of Dorothy proud. The dialogue never misses a beat and any opportunity for a joke is taken. However, The Witches of Oz does not lack a message and behind all the ridiculousness the phrase ‘everything’s on a spectrum’ crops up time and time again whether this in relation to gender identity or morality. Climate change denial is also at the centre of the show as well as a call to listen to experts now rather than when it’s too late. These difficult topics are treated with good humour but still remain poignant.
The costumes (Alex Clow) are simply fantastic, and Tin looks particularly phenomenal in a full silver getup. The outfits and make-up are incredibly playful and creative with distinct personalities for each character. The sound and lighting design (Daffyd Gough and Clancy Flynn respectively) are equally great. The whole team does well to scale up the production from the small room where the room begins to the large room with two layered stages for its latter half. The songs chosen – both as dance tracks and for the cast to perform – are campy and fun and are sure to get the audience on their feet.
For an extra fee, audience members are able to enjoy the show with a three-course dinner that is vaguely themed around the film. Beginning with sweetcorn puree and corn bread to represent the yellow brick road, what follows is a buffet style selection of chicken and various greenery in homage to the Emerald City for main and an apple crumble – green, again – for dessert. You are also treated to an appetizer at entrance – a spicy piece of broccoli which – you guessed it – is green. It is a shame that each course is not in some way related to the Dorothy’s trio of companions or make reference to other iconic moments in the film – a candy cane for the Wicked Witch of the East’s socks perhaps, a tomato dish for Dorothy’s sparkly red shoes, or some sort of melting dessert à la our verdant antagonist’s famous death. Pleasantly, The Good Witch accompanies the dining experience with some cabaret tunes creating a real convivial atmosphere within the hall.
The Witches of Oz is an absolute riot and it would be impossible to leave without a smile on one’s face. The food is slightly disappointing but is generous in portion and kudos to the team for serving so many people with such swiftness. Overall, if you enjoy drag, cabaret and downright silliness, then this is the show for you.
“The candypop colours fizz and zing and feel alive with fun and possibility”
Since U Been Gone is an autobiographical piece, in which Teddy Lamb intertwines stories of personal grief and loss with their own ongoing journey of self-discovery and self-definition. Teddy tells the story, with a live underscore performed on the electric guitar by Nicol Parkinson – quietly resplendent in a fabulous silver frock – with whom they share a stage. Teddy is a charming and engaging performer, with a gentle touch, who establishes a sense of warm intimacy with the audience immediately. Their words are direct and honest – as this type of show demands – but are occasionally shot through with beautiful currents of unexpected poetry. They are also, at points, extremely funny. (Put it this way, no-one who sees this show will every hear Eminem’s Lose Yourself in the same way again!).
Pete Butler (Set Designer) and Zia Bergin-Holly (Lighting Designer) have made the show look gorgeous, with a palette reminiscent of a 1960s TV set. The candypop colours fizz and zing and feel alive with fun and possibility, which serves at different times as both emphasis and ironic counterpoint to the narrative. For the most part, Billy Barrett (Director), wisely lets Teddy tell us the story without too much directorial intervention, and the few more obviously choreographed moments are well-placed, helping to give the words extra pace and texture when they need it. The live underscore is wonderful throughout, and the occasional moments in which Nicol Parkinson subtly sashays into the story, with a perfectly timed twang of the guitar, are just sublime.
This show is more than an intimate audience with an engaging performer, however. Teddy Lamb’s cleverly crafted text shines a light on the difficulties that beset gender-queer people on a daily basis in our society. Our non-binary and trans brothers and sisters encounter hostility and aggression in every aspect of their lives almost continually, and it behoves us all to step up and do better. One of the things we can all start with is pronoun awareness. Early on in the show, Teddy explains that, unlike the ‘strong, soft, comfortable’ feeling the pronoun ‘they’ gives, ‘he’ ‘feels like wearing an uncomfortable beige suit’. Which begs the question: why should anyone feel uncomfortable in what they wear, when clothes should allow us to dance?
