Writer and composer Stuart Wood has apparently added some new material for the revival of his quirky fantasy which celebrates a succession of musical divas for which he provides a pastiche number and a showcase for a drag artiste to display their talent playing everyone of them from music hall star Marie Lloyd to pop icons.
There is a storyline too, though a rather odd and unclear one. Frank (played with gentle charm by Andy Moss) is about to get married to Alan but first he has to clear out of his closet a costume collection of diva’s dresses. As each one is pulled out on its hanger, he conjures up its wearer until they are all packed and ready be taken off to the V and A’s Theatre Collection. Quite why they have to go isn’t obvious, they aren’t the only threat to the wedding plans and it is the divas who gain most attention.
Before being allowed into the theatre, there’s a prologue. Is it part of the play or an addition by director Sasha Regan? In the bar appears Paul Toulson in drag mode; bold and brassy, he harangues the audience and belts out a song or two to no particular purpose.
Things look better once inside the theatre with Catherine Phelps’s black and red set inspired by Pollock’s Toy Theatres and looking stylishly like John Minton’s book illustrations. When the overture strikes up, there is a good sound too with trumpet and trombone joining music director Anto Buckley on keyboard and Frank can get down to sharing his story with a quartet of young ladies (two of them real ones) to aid him as he empties his closet.
The first dress belonged to Marie Lloyd, who is brought to life. Next, Julie Andrews in her nun’s habit until she saucily discards it. Ethel Merman follows, then Karen Carpenter, Judy Garland, ABBA’s Agnetha Faltskog and topping the bill Dusty Springfield. Luke Farrugia plays all the divas—it is quite a performance. Songs from Frank about himself and Alan and Jo McShane’s choreography provide time to change into Steve Metcalfe’s sequence of extravagant costumes—Ethel’s dress with a pair of swans at nest on her bosom and another bird perched on her hat my favourite.
Lyrics aren’t always crystal clear, there is a tap sequence that you could miss because they aren’t wearing tap shoes and the interval gets stretched for a bar spot that Sheila Blige (just say it) shares with the Gaiety girls, but it is fun if you just go along with it.
There is a serious strand underneath all this about being yourself and loving people for what really are, not the performance they put on, and the divas chip in with their advice, but this is essentially a light-hearted romp energised by its cast and a frame for Farrugia. He doesn’t offer perfect impersonations, but delivers diva dazzle with assurance. Is that enough to make up for the dramaturgical weakness?