Broadway Baby ★★★★
Red and Boiling is an entertaining cabaret-style show with some serious undertones. Created by Noga Yechieli Wind and Joshua Rivas, it relates the stories of ‘queer womyn’ (sic) and non-binary individuals who deal with coming out and life thereafter . . . The striking duo forms a comedic partnership that balances the light with the dark and the sad with the humorous. This show is anything but a drag.
By Richard Beck
The Vile Blog
GV: Would you identify your show as 'gay' or 'queer'? What makes you define the show with this label?
R&B: Definitely queer. The nuance of labels and language is a big part of our show and the way we describe it. To us, queer is not only a term to define identity, it is also a performance of resistance in itself. Our queer bodies in public spaces, or performance spaces are inherently political and defying the standards of representation. Gay men have DICK-tated the narrative represented on stage for years, excluding queer womyn and people that live outside of the binary. Choosing the word queer to represent our interviewees and our show, encourages our audience to think outside of the binary, and to see a more nuanced representation of what queer looks like.
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The List ★★★★
Queer cabaret with heart and vigour
Queerness – claimed by many but often a shorthand for diverse identities with a touch of hedonism – is explicitly expressed throughout this double-drag adventure into the experience of queer womyn that has time for cheeky fun and serious reflection on hardships and prejudice. Joyful hosted by Hasadick and Rosay, Red and Boiling features a selection of verbatim conversations taken from the company's massive collection, available online and covering a gamut of women's experience.
Despite having a laugh at the complexities of gender identity, Red and Boiling is inclusive, even allowing the mothers of the women to express their anxieties through Hasadick's alter-ego. If the Jewishness is more caricatured than other identities, it provides a foundation for the short monologues, which are backed by shadow-puppetry, and a show that is filled with rapid-fire humour. Only an audience interaction segment sags, but this is quickly rescued, not least by the appearance of the puppeteer who explains how intersectionality can be an opportunity for multiple prejudices to perform their oppressive attitudes on one person.
Hasadick encourages the audience to invite queer womyn to see the show, but Red and Boilingmarries its humour, seriousness and social responsibility so precisely that it allows the multiple voices to speak truth that will educate and entertain those of any gender identity and none: its effortless embodiment of queerness insists that drag hasn't entirely been occupied by the mainstream and its more ramshackle moments only add to the sense of the duo's determination to remain independent and dynamic.
By Gareth Vile