WILL STONE is frustrated by a performance that chooses to garble the lyrics and drown the songs in reverb
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Krampus as camp as Christmas ought to be
Not a Coca Cola Christmas: How to Catch a Krampus
[Ali Wright]
RITA DI SANTO points out the social experience of exploitation and oppression that inform the popular winners at this year’s festival
PETER MASON is tickled by a new book and exhibition that mine the rotten anachronism of the monarchy for laughs
A Nazi zeppelin whodunnit, death amidst detoxification, a twistaholic’s delight, and noir fiction for criminals
STEVE JOHNSON salutes the mellifluous tones and clear-minded political message of a uniquely relevant Birmingham-born singer-songwriter
STEVE ANDREW enjoys an account of the many communities that flourished independently of and in resistance to the empires of old
TOM STONE urges you to catch the last dates of a New York singer/songwriter, never afraid to challenge her audiences musically or politically
How to Catch a Krampus
Pleasance Theatre, London
HAVING danced the night away at several of its industrial-scale glitterfests, I was curious to see how the international drag collective Sink the Pink would interpret the tale of Krampus — the child-napping half-bogeyman, half-goat of European folklore — in the murky confines of the Pleasance Theatre.
A little sceptical as to whether they could pull it off, I was pleasantly surprised by a production which, written and directed by drag queen Ginger Johnson, truly is “a black-hearted antidote to all things cheery this festive season.”
Set in a Victorian London that's more Hammer Horror than Dickensian, it has a spiritualist-cum-pantomime dame, played by Johnson, who's looking for her cat when she bumps into a desperate mother (Mairi Houston) in search of her missing son.
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PETER MASON suspends his disbelief and disappears down a rabbit hole on the London Tube
DAVID NICHOLSON, eight-year-old BEHATI and nine-year-old SKYLAR applaud a hilarious production that doesn’t ignore the social message
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