RAPPORT FRINGE ... MARGINAAL VERSLAG ... FRINGE BERICHT
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Julian Clary
in
NATURAL BORN MINCER - UK Tour
Verdict: Naughty, funny, spectacular
Edinburgh 03: 18 -24 August 03 at Assembly Rooms St George's West Church, 58 Shandwick Place, Edinburgh. tel 0131 225 7048
Julian Clary brings his national tour to a pre-Edinburgh climax at London's Theatre Royal, Drury Lane. But first, there's foreplay.
Pretty Sarah Travis sweeps on in suit and hat, to a concert-grand draped in pink swag. Her graceful, exact, and note-perfect virtuoso piano, ends with Bring Me Laughter, doused lights, plumes of smoke - and the arrival of a giant red shoe, bearing Julian Clary.
'I've come by foot. As opposed to by hand'. He's in red corset decorated in silver, thigh-high satin boots, blond hair, bracelets, inspirational make-up, headdress of roses. His bottom's capped-off with a white bobble.
'I did Two Gentlemen of Verona here in 1986. Well, they said they were from Verona.' It's to be a night of unexpected revelation 'This is a show about reality - did you know I was gay?'. There'll be intimate confidences: 'I have the the figure of Diana Dors and the bladder control of Dora Bryan'. And sharing of secrets: 'Do you know what I feel like? - A great big cock up my arse.'
Julian Clary's joined on stage by comfortably rotund Hugh Jelly, glorious in yellow top with huge flounced sleeves, green wig and a single red flower; and Gail MacKinnon, in black trousers and elegant red top, shimmering belt, and matching green headdress topped with an extravagent floral display. They provide backing vocals and dance, to Clary's title number 'Natural Born Mincer', with inspired piano from Sarah Travis ('A lesbian for 10 years'), and backing track by Kevan Frost.
It's 2 hours of reckless comedy from an expert in wit, innuendo and naughtiness, fast on the way to becoming a national treasure.
Julian Clary's field is homosexuality, but that's not why he's funny. Gay life's part of the everyday, no longer thought intrinsically amusing as it was, say in the days of Julian and Sandy in 'Around The Horne'.
This remarkable show makes it clear why Julian Clary is so successful. He's a master of spectacle (it's a visually stunning show); an expert stand-up; he has an innate understanding of, and warmth for, people; and he's funny - because he knows how to be. Homosexuality just happens to be his material, in much the same way that Alan Titchmarch ('standing around with his crimson glory in his hands') has gardening.
Highlights of the evening: Put It To Julian, time for the answers to difficult questions. The History Of Homosexuality - From Cave Man to Dale Winton, featuring the gay love of Romulus and Remus (Julian Clary and Hugh Jelly). Investigation of the contents of the audience's handbags. The activities of the Watlington Women's Group. Two of the audience brought up on stage. A superbly choreographed and designed Underwater Ballet.
Songs: Natural Born Mincer. There's a Lot of It About. Burt Bacharach Medley (Do You Know The Way To San José? Close To You. I Say A Little Prayer). Rim-O-Weh (filthy version of Bert Kaempfert's Wimoweh from Swinging Safari - yodel by Gail MacKinnon). Big Fat Papas Are Back In Style (duet, Hugh Jelly, Gail MacKinnon). I'm Telling You I'm Not Going from The Dream Girls (solo, Gail MacKinnon). I Beg Your Pardon, I Never Promised You A Rose Garden. La Vie En Rose.
Julian Clary works closely with his three gifted co-performers to produce a superbly-timed and thoroughly entertaining show. Sarah Travis cannot be praised too highly for her thoughtful musical scores, graceful backing vocals and dazzling piano technique. Hugh Jelly provides fine acting - combining wit, excellence in timing, subtle clowning skill and a delightful warmth in his stage presence. Gail MacKinnon ('the only heterosexual on stage'), petite, with a voice the size of the Grand Canyon, shows her fine comic talent and elegance in dance. Her astonishing and evocative singing is a delight.
Anne Tilby Jones's magnificent set is an inspired creation of giant rose flats, glitter ball, roses, shoe and shopping trolley laden with household products. And an enormous photo frame showing slides, often of the great man, which synchronise cheekily with the show - inspired computer programming by Will Richards.
Costumes, by Mike Nichols, Michael Ferri, Jasper Conran, are crucial to the magic. Clary's splendid outfits - and there are many - are counterpointed by those for Gail MacKinnon (lively pvc nurse's outfit and cheeky white pants; among many changes) and Hugh Jelly (wonderful in a variety of silks, ruffs, gold lamé and satin).
Julian Clary encores (with the cast) a stunning version of the timeless classic, La Vie En Rose. He inverts expectations by delivering it straight. It's one of the most powerful moments of a remarkable evening.
Credits - performers. Julian Clary, Hugh Jelly, Gail MacKinnon, Sarah Travis (pianist).
Credits - company. Producer - Mike Rowland. Production Co-ordinator - Lorraine Chapman. Director - Fenton Gray. Musical Director - Sarah Travis. Writer - Julian Clary. Additional Material - David McGillivray, Hattie Hayridge, Paul Merton. Backing Tracks - Kevan Frost. Production Manager - Helen Jackson. Julian Clary's Assistant - Rebecca Thomson. Light and Sound - PW Enterprises. Sound - Perry Wetherill. Light - Helen Blakeman. Press - Paul Sullivan. Set Designer - Anne Tilby Jones. Costumes - Mike Nichols, Michael Ferri, Jasper Conran. Music written by - Sarah Travis. Headdresses - Christine Bateman. Computer Programming - Will Richards. Digital Print - Bigfrieze. Agent - Mandy Ward at International Artistes. Promoter - International Artistes.
END
John Park
reviewed Sunday 8 June 03 / Theatre Royal Drury Lane London.
Fringe Report (c) Fringe Report 2002-2008
www.fringereport.com
