In 2006, The New York Post infamously labeled Paris, Lindsay, and Britney “The Three Bimbos of the Apocalypse.” But who is the fourth girl in that famous photo? Today, three Gen Z internet sleuths investigate that icon–Coco, an early 2000’s one-hit wonder who mysteriously vanished. Their epic musical quest leads them to uncover the truth, deliver justice, and rewrite pop history.
Though some technical elements are more confusing than illuminating — a lack of scenic or lighting differentiation between the “private” screen, where the YouTubers talk only to each other, and the public livestream was aggravating — Last Bimbo is a revelatory romp with enough cleverness to justify its twists.
Staged nimbly by Pelsue underneath arched Looney Tunes portals airily designed for speedy scenic needs by Stephanie Osin Cohen, the production easily rolls over most potholes in the plot. The lighting designed by Amith Chandrashaker lends color and dramatic shadows to events; a nightmarish “Stop Scrolling” sequence is illuminated cleverly by iPhones. While The Last Bimbo of the Apocalypse is one curiously mixed-up musical, the production is sufficiently entertaining to amuse viewers willing to overlook its somewhat bipolar behavior.
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