This vibrant production effortlessly captures the essence of the 1970s counterculture and the heart of San Francisco’s legendary drag troupe, the Cockettes. With eight electrifying performers embodying the psychedelic theatre group of hippies and drag queens, the show radiates an irresistible cabaret energy.
From the moment they burst through a crimson curtain clad in eye-catching costumes by Allen and Adcock—a whirlwind of fishnets, feathers, eccentric dresses, and sequins—audiences are immersed in a visual feast. The choreography, designed by Paul McGill, is playful, whimsical, and thoroughly imaginative.
However, the show’s narrative falls short, with Rae Binstock’s script lacking depth. While it gives a glimpse into the Cockettes’ rise to fame and subsequent struggles in New York, it does not delve deeply into their avant-garde influences or the sense of community they fostered.
A central conflict exists between Hibiscus (Andrew Horton, whose standout number is “A Crab on Uranus”) and Sylvester (Gregory Haney, equally captivating with “There’s a Lady on the Stage”). Although their tension centers around a refusal to travel to New York, this pivotal moment dissipates too quickly, and Hibiscus is reconciled without much resolution.
Interwoven throughout the performance are echoes of major political turmoil, like the Vietnam War and civil unrest—presented through newsstand summaries. Unfortunately, the execution sometimes feels chaotic, and under McGill’s direction, clarity suffers. The sound system also struggles, occasionally drowning out lyrics, though the singing, particularly from Baylie Carson as Sweet Pam, remains lively and engaging.
Ultimately, despite its narrative gaps, the show bursts with energy and infectious joy, captivating audiences with its dazzling performances and exuberant spirit.
Catch Midnight at the Palace at the Big Yin at Gilded Balloon Patter House in Edinburgh until August 24.
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