Eerie hissing and murmurs overlap in an intensifying cacophony. Fierce instrumentals kick in as She stomps on stage, slamming their radio with an exasperated cry.
“Shut. Up!”
And we’re off.
Take a breath, strap up and prepare to be sucked in by the out-of-this-world theatre experience that is She, Men & the Giant F*cking Snake: A Theatrical Song-Cycle.
Written, composed and performed by Anthony Palermo as a solo act, the thrilling and original pop-rock drag musical made its Ottawa debut at this year’s undercurrents festival from Feb. 13 to 15.
A powerful tale of self-discovery, gender identity and the manifestation of sexual assault in queer spaces, the story follows She (Anthony Palermo) from intergalactic space stations across multiple timelines, including Toronto’s gay village and a modern ancient Greece.
With a turn of their magical radio’s dial, She can transcend the universe’s dimensions and shapeshift into different beings. It’s a power She must use to discover who left blue hand prints on their chest before a toxic ex, the Giant Snake, steals their radio causing She to disappear forever.
Directed by Liam Peter Donavan, She, Men & the Giant F*cking Snake was a cohesive technical production as well as a unique, unapologetic and authentic portrayal of queer experiences. The piece’s deeper themes were skillfully balanced with its campy drama and razor-sharp humour.
Narratively, Palermo played fast and loose with the story structure. World-building plot holes were covered by purposefully and ironically addressed through fourth-wall breaches. While plot holes may have left gaps in an otherwise solid story, it also created moments of intense comedy.
Technically, She, Men & the Giant F*cking Snake was a simple yet effective production with the team’s resourceful use of limited props. In the backwoods of ancient Greece, the red inner lining of She’s leather jacket was powerfully used to depict non-consensual touch.
Isabella Cesari’s retro projection and symbolic lighting designs were another highlight. Coupled, the two represented what the technical production needed to be utterly enthralling.
Reminiscent of classic arcade or all-too-realistic Twitch chats, the screen projections differentiated between intergalactic timelines while adding their own cheeky comedy. Changing text mid-scene in response to a character’s antics, the projections took on a mind of their own, drawing startled laughs from the audience.
The clever lighting added a similar distinctive and immersive quality. From dazzling spiralling galaxies overhead to rage-filled red tints, it all added to the song-cycle’s profound emotions. In a scene requiring Palermo to portray the Giant Snake, a malicious green light cast over the Snake slithering around the stage emphasized the sinister quality of their on-stage moments.
In the role of She and their various iterations, Palermo offered a dynamic performance. While it was a solo show, it was by no means a monologue, as Palermo transitioned between characters with practiced ease.
Palermo simultaneously embodied multiple characters in dialogue and interacted with characters represented by haunting voiceovers. Portraying a range of contrasting personalities, from angry gays to geeky starlets, Palermo’s impressively quick changes in voice and physical demeanour were compelling and illustrative of their acting acumen.
Palermo was also perfectly in time with pre-recorded audio and sound effects, proving that the team behind She, Men & the Giant F*cking Snake operated on the same radio frequency.
Equally as impressive as their acting was their singing. Palermo’s smooth vocals filled the room to enhance She’s emotional journey through powerful rock openings and soft, moving ballads.
Complete with interactive audience moments, She, Men & the Giant F*cking Snake was ultimately a triumphant new musical production that forged an audience bond in a way only community theatre could.
Full of catchy and poignant songs, drama, and flare, there was never a dull moment. While also shining a light on taboo subjects in the queer community, the deeper implications of song-cycles’ twisty ending will surely leave audiences reeling long after curtain call.
Featured image provided by Party On Productions.
