That bizarre innocence makes her a disaster worth cheering.Ĭreatives all deserve praise for making their finely crafted work feel so spontaneous. Bridget isn’t trying to be a rebel she’s just being herself. It’s that she doesn’t think she’s scandalous for doing it. It’s not just that she’ll eat a potato chip she finds stuck in her bra. She performs with the earnestness of a young starlet finally getting her break, unaware some people may find her inappropriate. This material wouldn’t be nearly as sharp without Everett’s stage persona. Talking about taking the subway to meet an online hook-up, Bridget sighs, “I know what you’re thinking: Young woman going up there to Harlem in the middle of the night for some anonymous down-low (sex). ![]() King and Everett’s book provokes constant guffaws because it’s as clever as it is trashy. The distance between form and content only gets funnier as the subjects grow increasingly extreme.Īnd the talk is more than just trash. Divorced from the dirty lyrics, Mellman and Everett’s score sounds like classic cabaret, delivering everything from brassy showstoppers to soaring ballads. But while her outsized persona might sound like boilerplate for every drag act from Hedwig to Divine, Everett and team burst with surprises.įor one thing, the music’s grand. Through 13 songs and some salacious patter, she never dims a watt. That unexpected welcome - plus her nuclear energy and roof-shaking voice - gives Everett instant control of the room. Wearing a lace-up bustier and tight pinstriped pants, she makes her first impression with an anthem called “Big Girl,” announcing she’s an overweight sex junkie with a taste for degradation and liquor.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |