Hilariously satirical, camp, and queerfully entertaining

Henry Parkman Biggs’ art piece is brought into life by Blair Anderson and Preston Jones at The Other Palace, where the audience gets to enjoy an amalgam of political satire, cabaret, musical queer theatre, and a viewpoint into human relationships and the intricacies of them. The play is a satire centred around the Trump administration while touching on issues of corruption, suppression, lgbtq rights, democracy and that unity and togetherness can win against any evil. 

The action of the play follows the rise and fall of Trump, who is portrayed as a villain from start till finish through humorous and highly satirical means. The play tries to recreate a satirical atmosphere as trompe-l’oeil in a literal means denotes an artistic jargon for creating optical illusions through forced perspective. This was achieved to some extent through the staging and choreography around the Escherian Stairwell and Magritte’s apples, which were continuously reaffirmed throughout the play and the choreography. What was difficult to perceive was the elucidation to Dali’s melting clocks, which was an aspect that was not well elaborated on. Nevertheless, the play managed masterfully to touch base on various societal and political aspects that indeed had a political and societal impact during Trump’s office. The American Dream,  the statue of liberty as having a voice and crumbling down, the incessant animosity between Liberals and Democrats keeping people apart, Russia’s and Putin’s role and input in internal and world politics, were some of the many issues that were put forward in an illusionary and pun intended manner with carefully and intricately crafted songs. This masterfully created a playful atmosphere with a mix of different genres from music and pop culture ranging from classical, to Taylor Swift, and cabaret-like. Even though highly entertaining and unique, at points it was difficult to follow the plot through the songs as lots of deciphering and apex was at times not leaving room for a rest of  the mind; the performers were giving their full energy and satirical and comical character on stage.

The exceptional cast of Emer Dineen (Trump), Alex Wadham (RIP), Craig Bartley (Lafitte), Dominic Booth (Demi) and more provided widespread laughs and comical tears throughout the play. They highly interacted with the audience, and did not abstain from commenting and involving the audience as part of the play, which gave a very energetic and immersive nuance to the play. Trump as a villain was constructed and played so meticulously that even his gestures, movements, and facial expressions resembled so much reality. I really found entertaining the fact that Twitter’s usage by Trump and his action of firing and keeping those around him just for the sake of it and pleasing his ego was so nicely spread out through the whole play. The play really is an absurd portrayal of Trump’s audacious demands and unbreakable ego that does not hold any boundaries or restraints. Yet the play reinforces the notion of karma and of communal relief and unity when he is over from power. 

This is an amazing show dominated by the actor’s performances, songs, and dances, but not as a plot where it revolves only around Trump being a true spoilt, egoistical, and irrational tyrant catering to his own whims, likes, and family profits. The gay love story of the republican and liberal lovers, gives an elaborate understanding of the characteristics of votes for the respective parties, while providing hope that mutual understanding and acceptance of beliefs and what is truly good conquers evil. Overall a lovely play that will make you cry from laughter not for its plot or its staging,  but for the marvellous cast, music and acting it promotes.