Tucked away off the busy Kings Road is an authentic community theatre which clearly enjoys hosting Stephen Heatley’s original production Heels of Glory. The friendly welcome on arrival creates a positive atmosphere emphasised by the glamorous drag queens selling programmes and mingling with the audience. Expectations are high as you enter the auditorium with a cabaret style set including a drag dressing up box and a selfie stage which enables the audience to find their inner diva.
Once inside the main theatre, Meth’s illustrated set design transforms the community centre into the stylish legendary drag club “La Douche”. With the inclusion of two cabaret style tables on the stage and colourful comic-book style props, the audience understand they are entering a different milieu than one usually found in West London. Meth’s striking yet humorous designs allows the audience to see not all is what it appears and exaggerates the theme of the action adventure storyline.
The emphasis on audience interaction is not only welcomed but actively encouraged throughout the performance when the cast asks for comments from the audience. This borders on pantomime which is of course the ultimate drag show. Whilst the continual reference to Burly Chasis and Guinness Paltrow enhances the panto effect.
Having a live band on the stage perform Richard Link’s compositions is a real asset of the production and at the same time increases the sense of being in an upmarket venue such as that of La Douche. Link’s dramatic scores heightens the comical aspects of Tricity Vouge’s storyline and underpins the themes of danger which all the characters face. This is a nod in a direction of a tribute to Bond. The opening song engages the audience immediately in the lives of the main characters, however as the story progresses, some of the songs seem unnecessary such as “Silent but Deadly”. On occasion the solos somehow miss making an emotional connection, despite the cast having powerful melodic voices, particularly Allura (Sarah-Louise Young). The most memorable delivery are those of “Heels of Glory” and “Don’t Let Them Drag You Down” which have an anthem style quality and the latter creates a perfect finale lifting the audience’s spirits.
Costumes designed by Neil Gordon are a highlight of the production, highlighting the personas of the characters of Allura, Jay, Honey and Splendorella. The Henchmen’s outfits of boiler suits added a contrast to the glitz and glamour of the drag queens, clearly outlining the status of the characters.
The message of being true to yourself is obvious throughout the performance, but what might get lost is the fact of the use of chemicals in cosmetics. This issue is rather underplayed and more could have been made of this important fact. The interactions between the characters are quite touching at times particularly the friendship between Jay and Honey, and the sibling tension between Splendorella and Allura.
A brave and poignant element is when Splendorella (Nathan Kiley) removes her dress and wig on stage and performs “You can’t change who I am” enabling the audience to understand the effort involved in creating such a striking image, leaving nothing to the imagination.
Overall this original, charming and sometimes witty production tries a little too hard to incorporate too many genres and therefore feels somewhat uneven in its entirety. Although the feel-good finale rescues you from any negative thoughts about the production as you leave the theatre dancing along with the cast with a smile on your face.

Heels of Glory is playing at Chelsea Theatre until 26 June 2016. For more information and tickets, see Chelsea Theatre website.

Photo: James Millar