On Saturday evening, the Mayfair Theatre, the home of music hall, was filled with what director and compere for The Ultimate Drag Show, Olivia Dreams, dubbed the "tri, bi and don’t know" community only too ready for a belly laugh and only too happy to be loud and proud.
All seven Wellingtonian Drags were exquisitely attired over numerous quick costume changes by world-renowned seamstress Hariel. Her creative genius shines through inventive and beautifully stitched works of fabric art.
Braid and ribbons, ribbing and lights, feathers and fans, satins and silks highlight every curve and crevice.
Dramatic makeup, gravity-defying eyelashes, the highest of high stilettos, and voluminous wigs were all brilliantly contrived.
Equally flawless were the articulated and controlled Lip Sync and energetic dance moves. Political comment and pleas for cultural recognition abounded but were never clawing.
Only Homer [Simpson] Neurotic’s blue-rinse comments on veganism and his Ken to Olivia’s Barbie fell short of the overall performance standard.
Otherwise no stone was left unturned in securing the extraordinary.
Hariel’s white-patched Judith the Crusher prayed for divine intervention while flicking her bottom at the world.
Hariel’s "Over the Rainbow" also mocked the pretence of naivety. A strutting and silk-draped Selina Simone lip-synced The World Will Go On but was hilariously plagued by a technologically-challenged mic as the Titanic sinks.
Just Beth’s presentation of addled word-mincing Lady Gaga wrapped in gold with tangled wig and smudged eyes was splendidly ridiculous.
Robin YaBlind’s dancing and agility and his communication with the audience was exemplary.
Braiden Butter’s Horny Lady made a fabulous introduction to the finale "Villainy".
Audience "volunteers" moves to Dancing Queen were all aptly rewarded.
This excellently paced, intelligent show raised the queer voice by trumping sexual innuendos with political insights and avoiding being merely slutty.
Bring it on!
Review by Marian Poole
