JADAR

★★★★☆

To Wong Foo, Thanks for Everything! Julie Newmar is a queer cult classic, up there with The Adventures of Priscilla Queen of the Desert, which similarly tells the tale of three drag queens adventuring through the countryside, exposing simple townsfolk to queer joy. Whilst the films were released only a year apart, the latter has also existed as a stage musical for almost two decades. The former, which Douglas Carter Beane had originally written for the stage, has followed in its footsteps, with Hope Mill Theatre in Manchester hosting its world premiere.

The musical opens with a great big drag number, led by the hilariously named Rachel Tensions (Theo Maddix, fabulous), who was played by RuPaul in the film (and yes, the musical has recreated that iconic Confederate battle flag dress). The pageant is won by two seasoned performers, the maternal Vida Boheme (Peter Caulfield) and the sassy Noxeema Jackson (Gregory Haney). The prize is a trip to Hollywood to take part in an even bigger drag pageant.

The drag queens take pity on the histrionic “drag princess” Chi Chi Rodriguez (Pablo Gómez Jones) and let her join their trip. They cash in their two plane tickets and use the money to buy a broken Cadillac, which they are warned won’t get them to Hollywood.

Initially, Vida had suggested they take the bus, with Noxeema hilariously telling Vida that she is confusing her for Rosa Parks. The script is unafraid to dabble in provocative humour, and there are one-liners for days!

The book, though very well-written, is a little bit thin. Early on, the characters joke about choosing style over substance, preferring a broken Cadillac to a working old banger. Ironically, this musical runs the risk of being style over substance at times.

Felllow drag musical La Cage aux Folles was recently revived at Regent’s Park Open Air Theatre: whilst its storyline about a conservative politician wanting to ban drag might have seemed far-fetched a few years ago, it is now a reflection of reality. Art imitates life! Whilst To Wong Foo acknowledges anti-drag sentiments, the musical is surprisingly not very political – even though the themes of this 90s story are worryingly relevant to today.

There is a touching appropriation of “I am Spartacus” near the end, with the townsfolk all proudly asserting, “I am a drag queen” (as RuPaul said, “We’re all born naked and the rest is drag”). However, the whole anti-drag storyline is too brief and rushed for the end-result to be properly appreciated and impactful.

Whilst the musical is led by three drag queens of different races, two of whom experience racism as well are queerphobia, we are told very little about their backgrounds. The queens initially face a bit of resistance but it’s more in regards to their outlandish city lifestyles; nobody is aware that they are drag queens until the end: we don’t see them finding out but, suddenly, everybody loves drag. Thus, even when there are threats, the stakes are not high; it all feels a bit easy.

Carolyn Maitland (what a voice!) invests emotional depth into Carol Ann, and her relationship with Vida is heart-warming, but it feels at odds with the rest of the plot.

What the book gets right, however, is relationships, especially the aforementioned, as well as Noxeema’s friendship with the initially mute Clara Pearl (a sublime Susie Fenwick, amazingly aged), who has an unexpectedly encyclopaedic knowledge of Black Hollywood stars.

Indeed, the musical champions getting to know people from all different walks of life. It celebrates diversity and difference. Towards the end, there is an exchange between the drag queens and the townspeople, with both groups admitting that they did not think that the other was so fond of them. “Deep,” Vida says before quickly moving on. In fact, whenever there is a “deep” moment in the show, it is overridden with humour. The script has some cracking comedy but it could allow for emotional moments to play out and reach their full potential before cutting them short with jokes.

Maybe the creatives wanted the show to be pure escapism. It’s winter, everybody is poor, and the world has gone to shit. I get it.

Perhaps they did not want the politics to feel forced, obvious and preachy – à la a Nazi in the musical adaptation of The Book Thief saying, “Make Germany great again”, as if the audience could not already connect the dots between Nazism and the recent revival of fascism. To Wong Foo actually references that bigoted slogan on its promo – “Make America Drag Again” – but it’s a sardonic subversion, not a poor appropriation.

The score, whilst pleasantly poppy, is not the most memorable. The duet between Vida and Carol Ann, though a beautiful ballad, is sadly forgettable. But the opening and closing numbers are majestic.

The cast, however, is absolutely incredible. Caulfield embodies “drag mother” as Vida: she is maternally fierce. Haney is such a sasspot as Noxeema: when she walks into the room, you know she’s there. Chi Chi was written to be hysterical but Jones makes her loveable. She’s obviously my favourite (she’s Latin!).

The queens look amazing. Caulfield’s envious sharp facial features are accentuated further by make-up. Haney is completely radiant – he shines through the heavy make-up. Whilst Caulfield has been given a traditional drag appearance, Haney and Jones have been made to pass. Jones, especially – like John Leguizamo before him – is strikingly beautiful as Chi Chi. Heck, Jones is ridiculously attractive as both a boy and a girl. Whatever your sexuality, (s)he will have you sexually confused.

Jeez, is it me or is it hot in here?! Let’s move on…

To Wong Foo is fun but flawed. The book could be meatier and the songs could be catchier but it is undeniably funny, feel-good and fabulous – and sometimes that’s all you need!

To Wong Foo the Musical runs at Hope Mill Theatre until December 17.

Photo: Pamela Raith Photography