Tamsin Greig is outstanding, she does steal the show in places, but this is not a one man (or woman) show.
This is emphatically an ensemble piece with each cast member sparkling in their own way and coming together to dazzle as a whole.
It’s fabulously funny, loudly lavish and cleverly cutting.
But before we even touch on the performances, let’s have one heck of a shout out for the set design. The Olivier Theatre revolves, we know this, but how do you use it in a way that makes the most of its features without being gimmicky for gimmicky’s sake?
Set in the centre of the stage is a great triangular structure, which turns into a pyramid opening and closing many different scenes. It’s great fun, but also highly useful in transporting us through this ever changing world where nothing is ever what it seems. This combined with eclectic and vibrant costuming, makes an elaborate back drop for this talented lot to make merriment and mischief in equal proportions.
A generally light-hearted version of the play, although with an underlying current of cruelty which bubbles throughout, something greatly enhanced by the gender fluid approach of casting adopted by Simon Godwin.
At times it seems to suggest the ridicule Marvolia suffers has something even more sinister about it, moving dangerously close to lesbian stereotypes and the encouragement of homophobic bullying.
But it’s not, because this overtly flamboyant, diverse and unconventional world featuring drag queens, burlesque dance and more gender fluidity that you can shake a stick at, leaves us in no doubt that here, anything goes.
Finally, of course, there’s Greig who works the auditorium, expertly drawing out every laugh we had to give with what appeared to be exceptional ease.