Gingzilla: Glamonster vs the World
- Gareth K Vile
- 13 August 2018
This article is from 2018.
Hints of future greatness beneath audience pleasing playfulness
Blessed with a versatile voice and a charismatic presence hinge's hour long show is both a showcase for a singular talent and a disappointingly thin narrative. Working with 1950s tropes of female glamour and monster horror, Gingzilla hints at an incisive satire of beauty myths only to dissolve into a raggedly structured series of potshots at the past's preoccupation with surface beauty.
The overuse of video footage to allow costume changes distracts from Gingzilla's powerful versions of familiar songs: equally, a reliance on drag tropes like audience interaction or the bearded lady motif hides the weak development of a powerful idea about the relationship between cosmetic elegance and excluded monstrosity. The clips of adverts are hilariously obnoxious and the horror has kitsch appeal but when Gingzilla kicks off deconstructing an old tune, that is when the excitement begins. With a range from growl to shriek, the hidden emotions of the cabaret standard become explicit and even terrifying.
But there is too little of this: the vogue for drag seems to have encouraged shows that entertain without provocation: the gender contradictions embodied on stage are not explored deeply and it comes down to snatches of musical imagination, playful fun and hints of a more intriguing show lost in pantomime pleasing.
Assembly George Square Theatre, until 26 Aug (not 21), 8pm, £13 (£11).