Le Gateau Chocolat & Jonny Woo evaluate – stompalong drag enjoyable | Comedy

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Good luck creating festive cheer on the same working day your exhibit – like each individual present at this location – has been Covid-cancelled until the new calendar year. But if which is a bittersweet backdrop to Le Gateau Chocolat and Jonny Woo’s low-priced-and-cheerful tunes-from-the-displays cabaret, the duo refuse to surrender to it. With this abide by-up to 2018’s A Night at the Musicals, the so-referred to as “ebony and ivory of drag” deliver precisely what enthusiasts would desire for: high camp, affectionate mail-ups, OTT costumes and flashes of flesh – all underpinned, like the sturdy foundations to a garish constructing, by Le Gateau’s resonant bass-baritone, nonetheless rumbling someplace in your guts when you are midway house.

Put your feet up ... Le Gateau Chocolat and Jonny Woo in Now That’s What We Call Musicals.
Place your ft up … Le Gateau Chocolat and Jonny Woo in Now That’s What We Get in touch with Musicals.

Which is partly down to above-amplification: no matter whether sung, spoken or pretend-squabbled, the demonstrate is often aggressively strident on the mic. The most effective times are the most sensitive – Le Gateau’s fragile just take on Whitney Houston, say, ahead of that number devolves into a stompalong. Missing (by his own admission) his partner’s musical skills, Woo materials a few lip-synch figures, multi-roling amusingly to At the Conclude of the Day from Les Mis, and accomplishing a striptease to Sondheim and Jule Styne’s Some People. This is extremely considerably the form of display that expects – and receives – whoops of applause when a skimpy outfit is lose and a skimpier one revealed.

“Lower your anticipations,” we’re instructed at the start off – and absolutely sure more than enough, the demonstrate does nothing at all far more than it suggests on the tin. But it does that with infectious enjoyment, and a heightened sense from Le Gateau and Woo of their personal ridiculousness. The second is treasured when the previous struts on phase, swaddled much more like a furball than a feline, to croon from Lloyd Webber’s Cats – when Woo contributes a droll cameo, midway through Le Gateau’s Very little Mermaid selection, as a rubber-headed shark. By the finish, it’s far more singalong than present, as the pair get requests, deploy a Sound of Music medley when dressed as matching Marias, and finish with a crowd-pleaser from Grease. Our present wintertime of discontent feels…

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