For those privy to the drag artform prior to RuPaul’s Drag Race, they will know British drag was renowned for camp humour, live vocals and an underlining of political commentary: enter Fatt Projects. Self- described as, “unapologetic, loud and saturated”, with an aim to “harness the radical potential of queer joy”- they do this and more than succeed. 

In their latest offering, led by the dominant and charismatic, Fatt Butcher, Send in the Clowns: Little Flop of Horrors, first makes you question what the f*** you have come to see- and ends with the same question: with powerhouse vocals; sharp wit and activism in between. 

Also starring are the delightful and gorgeous vocals tones of Blü Romantic, who ensures you’ll never watch Little Shop of Horrors the same way again; Dahliah ‘Slut’ Rivers, who brings hilarity and charm throughout, and Alanna Boden whose vocals alone have cemented her firmly on my radar. 

Sometimes when you see a drag show in the current climate, a lot of ‘baby queens’ don’t have the personality to match their looks and struggle to engage with the audience – not the case with this company. Each cast member has their persona and identity down to a tee and, irrespective of what is scripted or improvised, you leave understanding each character on an individual basis.  

The first act is an ode to villains in musical theatre, with the second act a majorly abridged and reinvented production of a certain musical… Act 1 is seamless and keeps the audience on their toes, while Act 2 does become repetitive but ultimately has the best intentions- to entertain and stand up for what is right. 

Where the show (unfortunately) falls short, is the technology and/or mismanagement of microphone technique. Missed or premature cues can absolutely be forgiven, especially when you’re safe with Fatt Butcher on the mic, threatening to end the technician’s work experience placement- however, at times on one microphone, the volume was unbearably loud during belts. This is heartbreaking for the performers as the show is vocally solid throughout. The mix is, however, perfection during harmonies, enabling the cast to showcase their talents.  

It is important to note that is not a theatrical production, it’s a drag show that just so happens to be in a theatre. If you’re looking for finesse, lip-syncs for your lives or Instagram filters, this isn’t for you. If you’re looking for a politically charged celebration of musical theatre, queerness and drag back at its root- book your ticket on the link below and support this incredible company. 

Running until Thursday 18th September at Hope Mill Theatre, before heading to Bristol in November. Further information can be found here.

Tickets received in exchange for an honest review. #AD

Photography by Emma Jones.