A TRIUMPHANT RETURN SHIMMERING WITH SASS AND HEARTFELT MOMENTS

By Emma Carney | Bunny Pudding · Digital Coven · @bunnyscopes ⭐⭐⭐⭐ | Press Invite

Frank’s Closet makes a triumphant return to the stage, shimmering with sass and heartfelt moments, though marred occasionally by sound issues. Directed by Sasha Regan and hosted at The Union Theatre, this revival of the fringe favorite from 15 years ago delivers a captivating blend of glitter and depth which is just as relevant today.

At its core, Frank’s Closet is a poignant exploration of identity and self-acceptance. Andy Moss (Fans of Hollyoaks will certainly be a bit starstruck, I certainly was) embodies Frank, a character grappling with the complexities of his impending commitment on the eve of his wedding to Alan. Now, whilst I do have questions about why Frank would marry someone who would question their collection of Iconic fashion (I also have a bulging wardrobe myself, so maybe I am the problem in my own life, eek?) It works as a narrative frame.  Moss, brings a nuanced performance, serving as the grounded anchor amidst a whirlwind of extravagance and fabulous Queerness.

Surrounded by the vibrant ensemble of drag mothers, the Gaiety Girls, Frank finds solace and turmoil within the confines of his literal and metaphorical closet. Oliver Bradley-Taylor, Sarah Freer, Olivia McBride, and Jack Rose infuse the stage with glamour and energy, seamlessly blending dance routines with moments of tender support for Frank. Each Gaiety Girl having their own unique look (Tall, short, Male presenting etc..) as well as ‘personality’ in delivering their numbers acting as physical facets of  the inner workings of Frank’s mind, taking delight in playing characters from Frank’s memories.

FRANK’S CLOSET IS A DELIGHTFUL JOURNEY INTO THE INTRICACIES OF IDENTITY AND LOVE

Luke Farrugia shines as The Diva, a multi-faceted character who offers guidance to Frank through a series of dazzling performances. Farrugia’s vocal prowess and comedic timing elevate the show, supported by the witty and touching songs of Stuart Wood. The costume design by Steven Metacalfe, complemented by rapid changes overseen by Dresser David Furnell, adds an extra layer of spectacle to Farrugia’s transformations. I am a sucker for a Drag Queen so I really appreciated the effort that they had to put into playing all of the divas that would appear throughout the show.

While the production sparkles like a sequin on one of Frank’s prized pieces of Queer icon memorabilia, the live music occasionally overshadows the vocals, creating moments where lyrics are lost in the swell of sound. Despite this minor setback, Frank’s Closet remains a captivating experience, resonating with audiences through its blend of camp charm and genuine emotion. I loved it.

Before the curtains rise, audiences are treated to the bawdy antics of Sheila Blige, portrayed with gusto by Paul Toulson. Blige’s pre-show performance sets the stage for the lively atmosphere that permeates the evening, reminiscent of the spirit of Dickensian music hall.

In conclusion, Frank’s Closet is a delightful journey into the intricacies of identity and love, adorned with dazzling performances and moments of heartfelt sincerity. While the sound hiccups may briefly disrupt the harmony, the overall experience is one of joy and upliftment—a testament to the enduring appeal of this fringe gem.

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Photo Credit: Danny Kaan