Heelz on Wheels Reviews
Like Rocky Horror with wheelchairs, this show tells the story of Butch, whose dreary existence in a crumbling Northern town is brightened by the discovery of a shoe shop full of “sex, crips and queers”.
There are plentiful sequins, minimalist, poetic dialogue and music - Sally Clay's beautiful, versatile voice is worth the price of admission on its own. The small cast had the audience with them every step of the way, even through a singalong version of “We're All Just a Tiny Bit Like Hitler”. But I wish the plot was clearer - I couldn't tell you much of what happened in the shoe shop.
Even so, it was all over much too quickly - I would have happily watched for another hour.
This show consists of a fast paced eclectic mix of subject matter. Presented to you in the style of the old vaudeville theatrics, and excellent acted, it is both entertaining and fun. The events unfold quickly, yet move seamlessly from one topic to the next. Set in a post-apocalyptic future, it touches on the failure to attain dreams, shoes, the ability of random acts to change your life for ever, shoes, homosexuality, family relations, shoes and commitments as well as consumerism, all interspersed with catchy sing-along tunes, shoes, and audience participation.
If you are not keen on being an impromptu member of the cast it is not recommend to sit near the middle aisle or front, but do not let this put you off from going. Just sit further back and enjoy the show, which may leave you confused at times, but never bored. The amazingly beautiful and powerful voices of the cast will render you speechless, but the issues that arise in this work will also stick with you for weeks and months to come. This show is what the Edinburgh Festival is all about and one I would recommend you do not miss.
Go and see it today.
Heelz on Wheels is a wacky, absurdist piece about “shoes, sex, crips, queers and dressing up.” I generally hate musicals, but I loved this show.
The show was all about the visuals, the text, the acting and the music. I loved how the drag was aytpical - a delectable blend of feminine and masculine.
The script was written by Noel Greig, and was wonderfully poetic and minimalist - a little Samuel Beckett, a little Doctor Seuss. The ensemble was glorious. This was no “we're people too” kindof show; this was a superbly twisted tale showcasing the talents and culturally specific imaginings of very sexy, very saucy, queer crips. Each actor brought depth and humour to their character through a decidedly bitchy mixture of minimalism and melodrama.
The piece featured songs ranging from ballads to showtunes, often with numbers written in eerie minor keys. There was a little Kurt Weill in there, that jarring circusy feel of Mack the Knife.
One of my favourite numbers featured “Butch” singing “We're all a little bit like Hitler” while the rest of the cast danced and waved British flags. The wheelchairs are used wonderfully, and Clay's rhythmic pounding and swinging of her travelling stick during one of the numbers is amazing.
The show will stay with me for a long time. It was such a relief to see culturally specific and political theatre that wasn't issue-based or identity-based in that overwrought, realism way so favoured by activists.
Fittings Theatre doesn't sacrifice artistic excellence for the sake of a message… and for that reason, their message is much more powerful.
“1960s drag queens”, is what it said on the tin. There was nothing about strong language or nudity, though most of the audience were laughing too much to be offended. The programme provides a few more clues: “Shoes, sex, crips, queers and dressing up”, but you cannot help wondering about women being presented as grotesque parodies.
However, the musical is inspired by pantomime and yes, fairy tales. When Butch (Garry Robson) loses a shoe, he discovers a down at heel shoe shop, run by Bona (Mark Beer), Fannie - and his long lost son, Blanche (Robert Softley). Cashing in on this, they decide to revamp the emporium as Heelz on Wheelz, despite lacking stock and customers.
Eerily evoked as Madame Tussaud's ancient stockroom, the shop is set with a spiral staircase and a chaise longue. Here, Bona reclines and recites, along with Butch, poetic dialogue and stories, personal and historical, focusing on subversion.
Costume, at its most basic, comprises “rude flowers”, aka codpieces, but blossoms out into lavish lace. Blanche's wheelchair is a crinoline framework and Sally Clay's gown is as exquisite as her singing.
All four deliver remarkable performances, particularly Robert Softley. As for the pantomime elements, for the first time ever, I quite enjoyed audience participation.
The play may not end with a transformation scene, but it has a potent, thought provoking message. Whatever your abilities, inclinations or circumstances, follow your dream and you can be anything you wish.
