Review: FAME WHORE, King's Head Theatre

We live in an age ruled by followers. A large following will get you anything, from freebies to a publishing deal, from a table at a restaurant, to an income based on a few snapshots of a promoted product. Becky's told that to win a spot on the fictional hit television show The Drag Factor, they need to up their social media numbers.

Tom Ratcliffe writes and directs a bleak drag comedy on the trappings of modern fame, exploring online relevance, performative activism, and authenticity. He introduces a contemporary anti-hero who quickly learns that audience is currency and who's ready to do what it takes to become viral. Fame Whore is a clever, hilarious play full of personality, populated by pop culture references, and lined with solid social commentary.

However, running at almost an hour and a half, it's too long to pull its weight. Ratcliffe lingers on a few gags that turn into overly extended scenes, slowing the pace. While he loses momentum with these quips-turned-travelogues, his humour is captivating and Gigi Zahir (also known as Crayola the Queen) is memorable in Becky's ruthless climb of the social justice ladder and ultimate cancellation.

The performer also pens the riffs on popular songs, turning "Hey There Delilah" into an anthem to the follower-searching quest. There are plenty of iconic moments in what essentially is a big, uproarious drag confessional. Zahir goes from thigh-high black patent stilettos and a Care Bear-inspired babydoll dress to full leather. They are what one can simply describe as The Moment when they remove their huge eclectic blue wig à la Sasha Velour and transform into Jesus for the final song. Ratcliffe and Zahir know how to entertain.

While Becky's mission to gain a following is used as an amusing plot, Ratcliffe deftly speaks of a changing culture. Becky fights an algorithm that constantly changes to chase the whims of producers who mind numbers more than talent. Her friend's horrendous hate crime makes him go viral and the second half of Becky's duo is too famous for her after skyrocketing to fame.

In a moment of vulnerability, Becky reflects on how television (it's hard not to think of RuPaul's Drag Race as the culprit) has set ridiculous expectations for live drag performers and how an online presence has turned into an essential feature in the field. Social activism has become a brand and trauma a tool that can be exploited to one's own advantage. Fame Whore could be a bona fide cautionary tale if it didn't often lose grip of its narrative for the benefit of its jokes, as excellent as they are.

Fame Whore runs at the King's Head Theatre until 29 October.

Photo Credit: Charles Flint Photography

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