![]() ![]() Performed by a cast with boundless talent, you can’t help but want to cheer.īut I’m a Cheerleader: The Musical is at the Turbine theatre, London, until 16 April. Although the musical is rooted firmly in comedy, it shines a light on the horrors of such unethical treatments.Īnd entertaining it certainly is. ![]() Gay conversion practices continue to be legal in the UK. Still, this is a story that deserves attention. Hilary : This is where we sleep, but theres no inappropriate behavior allowed. But the slower ballads written by Bill Augustin and Andrew Abrams are forgettable and hamper the pace of an already lengthy musical. Graham : Cheers make girls do stupid cartwheels. There are a few standout numbers: the song Step 2: Pink and Blue has a catchy chorus with some amusing choreography where the students are forced to learn a physicality for their birth genders. Too many indistinguishable, repetitive scenes mean that the musical doesn’t reach its potential. Squashed together on David Shields’s pink Barbie dreamhouse-like set, they quickly change costumes, multi-role and dance to the highest quality – but all their hard work appears a little rushed with so much for them to carry. The cast of 12 could benefit from a little more space than they have on the relatively small stage at the Turbine. As she discovers her “new colours”, impressive belted high notes bolt out of her as if desperate to be released. Her singing, at first aptly syrupy sweet, really starts to show its range in the second act. “I can’t be a lesbian, I’m a cheerleader,” she squeals to the audience’s delight. Twee and unassuming, she is initially reluctant to accept her sexuality. Don't run out as soon as the credits start rolling: There is one last scene that seals this film with just the perfect touch.Alice Croft gives a stellar performance as Megan. The final 'graduation scene' which wraps up the film very nicely is a real gem - I didn't know they made lavender fatigues! There were some real standout performances - Dante Basco as Dolph and Clea DuVall as Graham deserve special recognition. They rescue kids via the 'underground homo railroad' with the message `that no matter who you are, be yourself.' They are an absolute delight. Each of the kids has a 'root,' - the reason they became gay: ranging from `a traumatic bris' to `my mother got married in pants.' Larry and Lloyd (Richard Moll and Wesley Mann, respectively) are priceless as two of the first clients of True Direction and are now self described ex-ex-gays. Watching RuPaul work on a car is worth the price of admission alone. The girls have to wear pink uniforms and do housework the boys are in blue and have to learn to chop wood, work on cars and learn football. Their bedroom is a riot of pink satin, ribbons and lace worthy of Mae West. The girl's bathroom has literally thousands of daisies attached to the walls. The camp is a wonderful, non-stop visual joke. This is a completely different take on any 'coming out' movie I have ever seen - but with RuPaul as a former homosexual turned 'conversion therapist,' it would pretty much have to be! Mink Stole is delightfully smarmy as Amanda's (Natasha Lyonne) mother who sends Amanda the cheerleader to `True Directions' a homosexual deprogramming camp - camp being the key word - mostly based on the fact that she doesn't like her quarterback boyfriend's extremely wet and sloppy kisses and (heaven forbid!) she has a poster of Melissa Etheridge in her bedroom.
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