The true meaning of the ‘Age of Aquarius’ is highly contested among astrologers and astronomers alike, but one of the more popular interpretations signifies an era of peace where humanity becomes more kind, altruistic and understanding.  As the amazing cast of Night of the Queer open its special Gala Night with a groovy rendition of Age of Aquarius to a packed house at TAPAC, this sense of generosity, acceptance and love for one another couldn’t be more obvious.

Presented as part of Auckland Pride and directed by the expert hands of Taiaroa Royal and Taane Mete from Okareka Dance Company, Night of the Queer is for queers and non-queers alike.  It’s a cabaret-style celebration of all things fabulous.  And it is a FABULOUS night out, dahhhling.

The live band, led by Robin Kelly and featuring Scott Thomas, Jared Desvaux de Marigny, Eamon Edmunson-Wells, Ritesh VJ and Dhruv Mody (on sitar!) not only accompany the performers beautifully, but wrap the evening up in a polished soundtrack that leaves plenty of room for spontaneity. 

MC Adam Burrell’s off-kilter humour and sass (not to mention wardrobe changes) brilliantly move the evening along at a cracking pace, which is perfect as there is much to see, hear, laugh loudly at, sing along with, ponder, fawn over, take in and ultimately love and enjoy. 

Jess Robinson’s charming take on Edith Piaf’s “Milord” begins at a table setting for two.  Jess is suited up in drag, which I suppose references the subject matter of the song, which is that of a poor street urchin girl’s affection for an upper-class gentleman she sees on the street.

Murdoch Keane and Amber Liberte’s interpretation of Carol Ann Duffy’s poem Mrs Midas brings to life the disconnect felt by “the woman who married the fool who wished for gold.”  Keane’s delivery of the poem as a monologue is impressive given his relatively young age.  The lithe movement of Liberte accompanied beautifully by Mody and his sitar echo the sense of longing and loss embedded in the poem.

Elegant and poised (and no stranger to the stage), internationally renowned songstress Ora Lefebvre brings a touch of vintage cabaret flair and glamour with her version of The Shadow of Your Smile.

A short excerpt of Kelly Nash and Nancy Wijohn’s work AHUA left me wanting more, more MORE!  The two figures clad in all black intrigue the audience with a kind of strip tease that reveals hands, feet.  A stomach!  It seems all over too soon, and having seen AHUA in its entirety, I would have loved for them to keep going with this work.

Kita Mean’s drag tribute to Oz’s heroine includes a rocked out version of Somewhere Over the Rainbow and some most entertaining alternative parting words (“You psycho glitter bitch!”) between Dorothy and Glenda in Dorothy Delusion.  It’s pretty funny!  And worth looking up the original Mad TV comedy skit on the neenernet.

The first half of what is becoming a most enjoyable and delightful evening ends with the funniest thing I’ve seen in a while.  Penny Ashton is The Loose Chanteuse, prowling the audience (in the best way possible) for help to tell her story, in song, of love found, lost, then found again.  It’s an improv-style song routine that will change each night with each audience.  All I will say is that Ashton is a master at her craft and there is much hilarity involving the word “pianist.”  Worth the price of admission alone! 

Gala Night patrons got an absolute TREAT as an opening of the second half with one of the most amazing Flamenco performances I’ve ever seen.  Direct from Spain, Isabel Rivera Cuenca absolutely floored the audience with her feisty, passionate and exacting flamenco performance, accompanied by the seductive strumming of Paul Bousader on guitar and stunning cante flamenco (vocals) by Albert Casas.  Cuenca is blimmin’ GORGEOUS and all three commanded the stage.  I had goosebumps, I swear.  And they receive a standing ovation.  While they will sadly not be performing at subsequent shows as part of NOTQ (due to prior performing engagements), they are at Q Theatre later this month with Mis Latidos.

A short drag/dance number by Burrell and Okareka director Taiaroa Royal has the sequin-studded MC showing off his chops (and his wardrobe) to usher in a delightfully ridiculous and irreverent excerpt from Mary Jane O’Reilly’s neo-burlesque show In Flagrante (which I’ll get to in a minute).  In a show of utmost professionalism, Burrell returns later in the night to perform a number called Adena Delights (which, as I found out later, is also the name of a famous porn star) to a Cher song (I think).  While these performances are used as a kind of ‘palette cleanser’ between acts, Burrell is a consummate performer and the audience love him.

Molly McDowall is the jaded magician’s assistant from In Flagrante who does the Charleston, proudly sports a merkin and produces scarves from some rather dodgy places.  I won’t spoil the ending, but you get the sense that she’s had enough and is ready to throw in the towel.  Or the rabbit.

In one of the most memorable drag acts of the evening, Lady Trenyce de-/re-constructs the art of make-up and wardrobe to the soulful and melancholy sound of Sarah Vaughn’s Send in the Clowns.  I wanted to be sad (it is a bit sad), but Lady Trenyce is not having a bar of it and finishes her stunning performance in a flourish of balloons and clown regalia. 

In saunters Sarah Nessia in a wedding gown.  Jaded and jilted at the alter (it seems), she searches the audience for a replacement, belting out a smooth, soulful rendition of Why Don’t You Do Right.  This woman’s voice is incredible!  A bit of a twist at the end, too, that I won’t spoil for you.

Okareka director Taane Mete and emerging dance artist Ardon England perform a moving dance work that was originally created as part of Okareka’s Summer School programme.  It begins with strong, aggressive overtones (partly to do with the harsh percussive soundtrack) and much of the work expresses a kind of anxious tension that finally dissolves into an embrace.  The strength of both men is shown through the choreography.  Beautiful to watch.

The last act catches me a bit by surprise.  I have seen Edward Clendon from The Dust Palace perform silk routines many times before and they are always stunning.  Tonight is no exception – Ed has developed his craft beautifully over the years and always seems to find a way to wow me with his skills.  What really impresses me is a young singer by the name of Fin McLachlan who delivers vocals just as silky as Ed’s tissu drape.  It’s almost unbelievable that a voice like that comes from a teenager.  The stripped back accompaniment from the band for I’m Only Dancing is perfect to accentuate the drops in aerial routine while letting Fin’s vocals shine through.

For the finale, the entire cast bring back the Age of Aquarius and lets the sunshine in!  It’s so full of light and love that we all are moved to get up and join in.  A fun, energizing and exuberant ending to a splendid night that celebrates “gay, straight or whatever ruffles your feathers.”  And to top it all off, festive company, great atmosphere (the chandeliers!) and table service come as part of the package.  (Well done to Margaret Mary at TAPAC and the Okareka team for the attention to detail.) 

You will not be disappointed.

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