The joyous joining of drag and drama is masterful.
Not often does drag not hit the mark. Not often does a drag performance leave you considering your own experiences of grief. Brenda Callis seeks to deconstruct the reality of a queer body within rural living. On it’s final stretch of its tour, having debuted at Bristol Old Vic, Smalltown Boy takes over The Pleasance Theatre with an immersive, cabaret of song and sorrow. It’s lead, Edie, played by a talented Elliot Ditton, maps a physical and emotional journey to rural Cornwall as she discovers the death of her lover- Leo. This endeavor is not, of course, without its many hurdles. As Edie learns of her lovers family, local community and disapproving looks, we are presented with the bright artistry that is drag and small-town drama.
The amalgamation of form is initially established within the set. Audiences sit and enjoy a drink at the cabaret-esque tables for two, on looking a set reminiscent a classic British sitcom. As Edie encounters Leo’s mother’s (Claire) home, we see the merging of worlds- a basic, family home with the addition of an on-stage-stage, glittering in the middle. Through some audience work and an opening musical number, the play suggests to follow a solo drag performance. Yet this is quickly swayed, as Edie lays down some uncomfortable conversation with the audience, and though confusing at first, we learn to understand this as Edie’s attempts to converse with Leo.
The initial interaction between Claire, played by Kate Milner-Evans, and Edie is certainly awkward. The beautiful costume design of Alice Sales, places footwear as a metaphor of these two worlds colliding- the high-camp heels of Edie, versus the simple practical walking boot of Claire. Claire’s bewilderment at Edie is very noticeable, yet at times it felt somewhat too uptight, and I must note as the performance continued you could feel a relaxation from the actors. Nevertheless, as the characters come together and loosen up, there is a real overwhelm of emotion and discomfort around their situation. We meet Hannah, played by Shiquerra Robertson Harris, who is suggested to be the reason Edie had to come down to cornwall, and her partner Stephen, played by Theo Cowan. I have to point out the excellent characterisation of Stephen and Frazer Meakin’s direction is rather superb. The cabaret moments are hilarious and perfectly comedically timed, as drag is intertwined so neatly into the performance.
The emotional narrative certainly becomes a huge factor at play, and as Edie’s physical costume delayers, as does the layers of the story. As the play enters its climaxing
moments, the key theme of grief is really deconstructed. A back and forth between Edie’s coming and going, and conversations of her place in the spreading of Leo’s ashes takes place. Important discussions are held, as the family are hinted of leo’s real connection to Edie, and we begin to understand their stance on otherness within their community. Though very moving, I found this unfolding to be slightly prolonged and I feel the script would have benefitted from some refinement, to ensure clarity and precision in its message. Regardless, all aspects of this performance, from the sound, through to the costume and props, proved to compose a deep, hilariously-camp portrait of grief and I can’t wait to see where this beautiful show is taken next.
For Listing please visit: https://bristololdvic.org.uk/whats-on/smalltown-boy
Author:Isabelle Scerri