“Self-aware and ironic, the show allows nothing, and yet everything, to be sacred”
Imagine you could travel back through time. Well, along your own lifetime. Where would you go? What crucial, formative moments would you love to revisit in all their cringey – or spectacular – glory? This is the premise for ‘Hot Gay Time Machine’, a wonderfully camp and self-aware musical cabaret now basking in the warm glow of a West End transfer.
Zak Ghazi-Torbati and Toby Marlow are an electrifying, hilarious double-act. With Marlow on keyboard, the pair journey forwards from their high school days staring at/avoiding “cocks in the locker room”, through coming out to their mums, to becoming the hot gay time machine specialists they are today. With writer/director Lucy Moss, the team have assembled a show that offers relatable stories, joyful musical numbers, and a fun exploration of being modern day (cis-white-privileged) gay men.
Self-aware and ironic, the show allows nothing, and yet everything, to be sacred. The humour masks a serious mission (donations to Stonewall were also welcomed at the end) to bring gay culture to ‘the mainstream’ with all the contradictions that come with that openly on display. At one point the duo ask themselves if they’ve ever had a gay male friend they’ve not had some sort of sexual relationship with. Answer: yes! Well, sort of. There is always “that one time.” Or “that other time.” And so it goes.
But this is an evening for all to enjoy. The songs are a constant game of bait-and-switch, lively and funny, and the show is an absolute blast from start to finish. Audience interaction is a necessity and the duo deal with heckles with cool bravado. The set is pink to the max, and yes, there is a shimmer curtain. A definite favourite for Friday night crowds, the audience seemed to love every minute of the show.
Bombastic, hilarious and musically inventive, ‘Hot Gay Time Machine’ is top-notch queer cabaret from three extremely talented artists.
Divorced. Beheaded. Died. Divorced. Beheaded. Survived. The story of Henry VIII’s wives is probably one of the most familiar parts of British history, having inspired countless movies, novels and TV adaptations. But I challenge anyone to find one as uplifting and empowering as Lucy Moss and Toby Marlow’s Six. A stunning ensemble piece, pitch perfect with its tongue firmly in a cheek. The cast are vocally impeccable, each performing with an individual charm and flair that blends flawlessly. The score is bright, fun and rockets along. It is very hard to stay in your seat as the urge to dance along stays with you after the curtain comes down. This is a bright, brash girls night with a pumping sound track. But there is a message in the madness and it lands full force thanks to the spirit and energy of the performers.
The story may be well known – Henry VIII a man who abandoned his faithful wife for a younger model, then bullied, bored and executed his way through 5 more, reshaping England along the way – but this show is not just about history. It’s about challenging women’s narratives and redefining the roles. These women have been cast as victims – even Parr who ‘survived’ Henry is rarely considered more than a footnote in his story. This show tackles that head on. The premise is simple – each wife gives their case to the audience to prove themselves the true Queen by proving that they suffered the most. But what we see is not a collection of sob stories, whinging and wallowing. These ladies kick arse, (literally in some cases), and the result is one of the most jubilant and energetic takes on the six I have ever seen.
Far from indulging in weakness, the show highlights the strength, humour and depth in these characters creating six well rounded and charismatic women for the modern day. And some of their problems don’t seem that far removed from 2018 – we even see the Tudor version of Tinder. The first three, perhaps the most familiar due to the controversy surrounding Anne, kick against the stereotypes. Far from the dutiful wife, Catherine of Aragon (Renée Lamb) has sass and attitude, blowing in a with a ballsy number that demands answers. Neither the scheming seductress or manipulated pawn, Anne Boleyn (Christina Modestou) is just a girl who wants to have fun with perhaps the most catchy number of the night, (I’ll confess to humming that one on the way home). And though earnest, Jane Seymour’s (Natalie Paris) ballad resonates with strength and power. There are no shy or shrinking violets on this stage.
Perhaps because they are so often overlooked elsewhere, it’s the second half that really holds some surprises. Had the crown really been up for grabs, my vote would have gone to Anne of Cleves (Genesis Lynea). With her hip hop anthem Queen of The Castle, the 4th queen is celebrated as the one who played the game and ultimately came out a winner, even if history has been unkind. But its not all innocent glee. Catherine Howard (Aimie Atkinson), performing an Arianna Grande style pop song with added bravado, has a heart wrenching moment of poignancy as she literally gets stuck in her own rhythm. Finally Catherine Parr (Izuka Hoyle) – the survivor. This is where the show really flips. Catherine’s song breaks the narrative and dares to offer a view on the character not coloured by Henry. She calls out the history books for relegating these women to the roles of wives, props in Henry VIII story. The final note of the show is not the six bickering over their role in a man’s story – it’s six women coming together to be seen as individuals and it had the whole audience cheering and clapping along.
Six is an exuberant and joyful musical treat – the perfect antidote to Black Monday and a great show to see in the new year.