Let’s talk about Drag. Most people have probably encountered a Drag Queen of some kind in their lives. (If not please, reassess that situation after reading this review) Whether it’s as part of a Hen Party or Birthday Party at the local Drag Bar- hello Minsky’s and Wow- or on TV via (if you’re my age) Lily Savage presenting Breakfast or tea-time TV (those were the days) or on Netflix with the glory that is Ru Paul’s Drag Race. Obviously if you’re a drag race fan the next sentence will not be a surprise but: Drag is an artform.
Once again: Drag is an artform. Cabaret is an artform. Drag as Cabaret is an artform. So easy to dismiss as someone in exaggerated make up in a wig in a dark bar you visit once in a blue moon. But real Queens work a room and a crowd tougher than most comedians. Most Queens have worked their way up through dingy back rooms and hiking on outfits in toilets. All Queens are not the same either. All Queens are definitely not created equal. But the best are an utter masterclass in entertainment.
La Voix is an utter masterclass.
All the above said too, it’s really important to say how brilliant it is that Ffresh at the WMC invited a Drag Queen to be part of this season. That alongside the National Theatre’s production of Jayne Eyre in the main theatre, La Voix was invited to do not one but two nights. It’s both important in recognising that performance given space in arts venues shouldn’t be on a hierarchy- although some patrons might sniffly ask why a Drag act was in a theatre, not back in a club where they no doubt think that sort of act ‘belongs’ but also to show audiences ‘yes we welcome all kinds of performance here’. It’s also important as reviewer to have the experimental Jazz group last week, included on the same programme as a Drag Queen. It’s about saying there’s sophistication, and training, and creativity across all kinds of performance, so let’s do away with these divisions. Finally, it is also about- particularly in ‘Pride Month’ the idea that LGBTQ+ performers and audiences, and work that historically wouldn’t have been welcomed in such spaces is. It’s only 50 years since homosexuality was decriminalised, and Drag and other Queer performance was not so long ago an underground scene or at the most related to a certain kind of club. To see then a drag performer in the flagship venue for Wales, and with a diverse audience is not something to be taken lightly.
All this politics and history however is taking away from talking about the Diva herself. And that isn’t on really. La Voix is a force of nature. She got to the semi- finals of Britain’s Got Talent in 2014, where her name meaning ‘the voice’ and is known for her on-point impressions of famous Divas.
Winning many prestigious awards which include Best act at the London Cabaret awards, Winner of Drag Idol and most recently the Gold award winner for Best act at the Boys Scene Awards. And was in the Ab Fab film.
So, for the past 10 years La Voix has been taking on the big divas and making them her own, on both stage and screen. And last night’s tour of the Divas didn’t disappoint. Resplendent in a turquoise gown and trademark red wig, she reminds the audience that ‘I didn’t get this dressed up to not have pictures taken’ before adding ‘If your flash isn’t on…I’ll wait’. The audience interaction is, as with any drag show and after storming on with ‘the voice’ filling the room, there’s some delightful patter with the accompanist (Fresh from Hawaii with accompanying shirt) and of course with those lucky (unlucky depending on your take) to be in the front row. There were clearly a cohort of die hard fans in the audience who know the show possibly better than La Voix, but also allowed for some great banter between them. Drag Queens are known for both cutting, and a times filthy humour. And while it was certainly un-PC at times, the jokes never strayed into the borderline offensive that some other acts might take on. No doubt that changes with the venue and crowd, a skill again knowing how to work an audience, meant those in the audience unfamiliar with the Drag style of humour wouldn’t have been too shocked- and I defy them not to have laughed.
Songs take centre stage, as do the Diva’s who deliver them. While to some degree sticking to the demographic most in evidence at the show- the over forties, Diva fans- there was enough contemporary reference mixed in to make the show feel fresh. So, while Adele might not have been performing at Wembley that night, La Voix brought us Liza does Adele. The audience was given a masterclass in performing the Divas from Cher through Liza to Judy and ending on a Welsh flavour with Shirley Bassey. A personal favourite as a musical theatre fan was Liza doing Mein Herr from Cabaret…but as if she tried it now at 76. I didn’t know I wanted it until I saw it. There’s such a detailed familiarity with the Divas from La Voix that goes far beyond simple mannerisms and vocal impersonation, and there’s also the love of a Diva in general that fuels the act. So while they are mercilessly mocked, there’s a sense of love and respect there. Something that’s very much at the heart of a really great Drag Queen too.
Also at the heart of any good Queen’s act is how to make an entrance and also an exit. And the closing numbers do not disappoint. Audience already primed 2 songs earlier, for the exit and cheering her back on stage La Voix returned decked in Ostrich Feathers and white (soon to be put in danger by a misplaced vodka cranberry). Dame Shirley was taking the final bow, and the crowd loved a home-grown Diva. And finally, as a sing-along closing number, Bonnie Tyler. In which the crowd also proved that giving a Welsh audience a chance to sing and they will attempt to upstage any Diva. But really what more fun can you have on a Saturday night than singing at top volume to ‘Total Eclipse of the Heart’ with a Drag Queen dressed in white?
There’s a lot to be said for bringing Drag to wider audiences, and respecting just what a skill not only Drag but working a live cabaret audience is. La Voix thanked the crowd for coming out and supporting live cabaret noting that in these times it’s live entertainment- particularly at this end of the spectrum- that suffers. She also said that in these dark times we need that entertainment. And that’s the crux of it. At the end of a long day or week, La Voix gave us an escape- a fabulous, sequin clad, feather trimmed Diva-esque escape. Merci La Voix, Merci!
Tag Archives: La Voix Humaine
Review La Voix Humaine by Helen Joy
(4 / 5)
Location: Her apartment, in Penarth
The party, the At Home invitation, the Do I know You routine
The glass of fizz, the canapé
The uncomfortable seating of the unknown faces
The nervous conversations, the couples chatting together apart
The admiring of the view from the windows
Lovely Weather. Yes.
Are we participants? Voyeurs? Witnesses to a woman collapsing in front of us.
Seeing her destroy herself. Hearing her pain.
Afterwards, What friends were we? We let her do it. We watched.
The clinical beauty of a voice heartbroken had sung out of the windows and over the water.
Event: La Voix Humane
At: A flat in Penarth
Production: Wales Millennium Centre and Welsh National Opera for Festival of the Voice
Director: David Pountney
Voix: Claire Booth
Translation: Richard Stokes
Seen: 7.45pm, 3rd June, 2016
Reviewer: Helen Joy for 3rd Act Critics
Running: 03 Jun – 11 Jun 2016