A supernatural family drama on the horrors of heteronormativity.
In “Boutique” we are transported to a bridal shop in the 1970s. Mother and divorcee Margorie is getting remarried and her adult children are here to help her pick out the perfect dress for her big day. However, as family tensions bubble to the surface, and secrets are revealed, this boutique becomes their own personal hell – perhaps literally.
“Boutique” had me gripped from the start, with a striking tableau and eerie prologue. The tone of the play was made clear from the get-go- creepy, tragic, and deliciously camp.
We are then introduced to a host of characters. Boutique owner, Madam Tattler, Margorie and her two children, Evelyn and Jude. Lurking in the background is a mannequin, who’s eyes seem to follow you around the room. You aren’t sure of it’s significance yet, but you know it’s there for a reason.
Each actor was a breath of fresh air, embodying their characters with nuance and believability. I was particularly impressed with the “maniquinn’s” physicality, and Madam Tattler’s speech in the third act left chills down my spine.
The dialogue was witty, and expertly composed by emerging writer, Will Gowling. Themes of oppression, trauma and queerness are explored thoroughly in a way that leaves the audience’s head spinning. The isolation and sacrifice that comes with the queer experience – with living authentically as yourself – is something I rarely see depicted in theatre, and it’s important that these stories are told.
“Boutique” worked best when it settled into it’s absurdity. The show takes a supernatural twist in the third act, and it is incredibly entertaining to watch unfold. Perfect for fans of Buffy the Vampire Slayer or Doctor Who, as it takes on a similar format of using the supernatural as a metaphor for wider social issues.
If anything, I think the piece could have done without blackouts. Let the play exist in real time, or otherwise add transitions between scenes to help keep the audience engaged.
Overall, I think “Boutique” is an excellent piece of queer theatre. It’s a wonderful showcase of upcoming Glaswegian talent, and I sincerely hope the cast and creative team have the chance to explore this play further.