REVIEW: Sound of the Underground ⭐️⭐️⭐️⭐️📍Royal Court Theatre ; Jerwood Theatre Downstairs

When it was announced that Travis Alabanza (writer of NONE OF THE ABOVE) was creating a show at the Royal Court in 2023, I was the first to leap up to find out more. I find them such a superb writer, and was so sad to have missed Burgerz (luckily for you and me, there’s a new season at the Southbank this year where they are going to bring it back!).

In this piece Travis Alabanza professes to write a love letter to the London Club Queer Drag scene, as it shaped them as the person they are today. As it stands, the cast feature a highly varying set of charisma, uniqueness, nerve and talent (more on THAT show and its creator later…) and it was the first time for me to watch them. The curtain is bathed in a green light, as the society’s outcast finally reveal themselves in al their glory. I was mesmerised, I felt safe as a queer person. I was overjoyed. The crowd were electric. This already was rewriting the rulebook: pictures are allowed albeit without a flash. We’re then seeing each Drag artist invade the space, with paper strewn across the crowd; every crevice of the Royal Court birthing a set of misfits who want to share their raw and honest experience. To put it simply, this piece takes a lot of effort and manoeuvring to unnerve the crowd. And they all do it so effortlessly. Like they truly belong at the Royal Court!

 

 

 

 

 

 

 

 

 

 

 

 

The performers that were introduced to include some of the the finest of performers (as mentioned above). They come out of the “underground”, as stated in the title/Girls Aloud song title, and talk about having strong “roots” in the marginalised community. We then see a teetering on a rather bland kitchen-sink “play” where drag queens are striking. And no, there wasn’t a Mick Lynch in sight during the performance that I attended. The topic is so incredibly relevant, and the nuances had me thinking a lot about my own support for Queer arts long after I’d left the show. This includes the role of a certain RuPaul Charles in the commodification of the art form via Drag Race. Further, the way that they’ve behaved since the show’s conception and the fact it’s now cashed in on to suit mainstream cis-hetero-normativity really did have me shook! As well as this, we’re reminded of the fact that ITV staged a show where the presenting duo Ant and Dec were given a “drag” make over. This led to complaints, as well as a backlash towards the LGBT community. In short, we’re shone a light on how the mainstream acceptance of “drag” is served to a kind of artistry homogenous by design. Drag is only acceptable if it fits a very narrow box. But to these creatives, this was a shallow on-the-surface look at what is a “trend” whereas these people’s drag is their life, not just an art form that is layered and delicate. At one point, there’s a satirical scene with a voodoo doll, and camo-covered soldiers using dildos as an offensive weapon to re-assert their agency over the narrative. I found the lighting to be spectacular, and enhancing the main action.

While it did take a while for the first act to feel pacy in the beginning, it was the end of the first act (where we have the drag artists lip sync interviews) that creates a really impressive effect. I was almost wanting to have a Q+A immediately after to discuss some of the salient points made, but felt were expressed very well. One of my highlights is a very famous “cheeky” song, sung in an operatic style. I wouldn’t be surprised if I see a West End casting for this specific performer (no spoilers, go and see it and find out who I’m referring to!).

Overall, I’d highlight the individual performances of the acts as being hugely talented and their displays were all  insightful into what drag means to each individual performer (no spoilers, but the final performer and their plight had me moved). I have made a note to see all of the respective performers in their art forms across the country. The Club scene is one we – as those on the overground – can be better to support. Be it via social media, tickets to their events, please do consider seeking out these talented cast members outside of this run.

I will be very much excited to see how their careers flourish now that they’ve had some “mainstream exposure” but I do hope that the state of our theatre showcases that we need not have to always have narratives on stage that show Queer Pain only. Let’s all rejoice in this riotous, fun, dazzling showcase of what it means to be underground. And yes, it will mean for all of us to do the work and seek out those who we profess to being “allies” to. Long may this piece and the writing of Travis Alabanza reign (they deserve all the support and attention, given what they’ve achieve thus far).  Sound of the Underground will certainly have people in hysterics, moved but more crucially it will affirm those who are non-conforming and their allies.

Full disclosure: I was gifted a ticket to watch ‘Sound of the Underground’  at the Royal Court with a set of complimentary tickets, in exchange of my honest review of the performance as a freelance reviewer. I did not receive payment for this article, and the views are reflective entirely of my own honest opinions, with no editorial control from anyone affiliated with the production or theatre.

Sound of the Underground is on until Feb 25 at the Royal Court: https://royalcourttheatre.com/whats-on/sound-of-the-underground/

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