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The Guardian - UK
The Guardian - UK
Entertainment
Brian Logan

Le Gateau Chocolat & Jonny Woo review – stompalong drag fun

Disneyworld … Le Gateau Chocolat and Jonny Woo in Now That's What We Call Musicals.
Disneyworld … Le Gateau Chocolat and Jonny Woo in Now That's What We Call Musicals. Photograph: PR

Good luck generating festive cheer on the same day your show – like every show at this venue – has been Covid-cancelled until the new year. But if that’s a bittersweet backdrop to Le Gateau Chocolat and Jonny Woo’s cheap-and-cheerful songs-from-the-shows cabaret, the duo refuse to surrender to it. With this follow-up to 2018’s A Night at the Musicals, the so-called “ebony and ivory of drag” deliver precisely what fans would wish for: high camp, affectionate send-ups, OTT costumes and flashes of flesh – all underpinned, like the sturdy foundations to a garish building, by Le Gateau’s resonant bass-baritone, still rumbling somewhere in your guts when you’re halfway home.

Put your feet up ... Le Gateau Chocolat and Jonny Woo in Now That’s What We Call Musicals.
Put your feet up ... Le Gateau Chocolat and Jonny Woo in Now That’s What We Call Musicals. Photograph: PR

That’s partly down to over-amplification: whether sung, spoken or pretend-squabbled, the show is often aggressively strident on the mic. The best moments are the most delicate – Le Gateau’s fragile take on Whitney Houston, say, before that number devolves into a stompalong. Lacking (by his own admission) his partner’s musical skills, Woo supplies a few lip-synch numbers, multi-roling amusingly to At the End of the Day from Les Mis, and doing a striptease to Sondheim and Jule Styne’s Some People. This is very much the kind of show that expects – and receives – whoops of applause when a skimpy outfit is shed and a skimpier one revealed.

“Lower your expectations,” we’re instructed at the start – and sure enough, the show does nothing more than it says on the tin. But it does that with infectious pleasure, and a heightened sense from Le Gateau and Woo of their own ridiculousness. The moment is precious when the former struts on stage, swaddled more like a furball than a feline, to croon from Lloyd Webber’s Cats – while Woo contributes a droll cameo, midway through Le Gateau’s Little Mermaid number, as a rubber-headed shark. By the end, it’s more singalong than show, as the pair take requests, deploy a Sound of Music medley while dressed as matching Marias, and end with a crowd-pleaser from Grease. Our current winter of discontent feels a long way from Summer Nights – but Le Gateau and Woo’s cheeky cabaret is a fun way to take your mind off it.

  • Now That’s What We Call Musicals, Soho theatre, London, returns on 4 January, runs to 22 January.

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