MY SON'S A QUEER, (BUT WHAT CAN YOU DO?) Announces Victoria Scone And Jamie Windust As Final 'Queer Hero Thursday' Guests

The award-winning solo show is playing at the Ambassadors Theatre until April 1.

Guest Blog: Nia Morais on Her First Play IMRIE, Welsh Fantasy and The Dark Fantastic

The Olivier Award-nominated production of My Son's a Queer, (But what can you do?) today announces RuPaul's Drag Race UK superstar Victoria Scone and award-winning writer Jamie Windust as their two guests for the grand finale of their Queer Hero Thursdays on 30 March. This series of events sees star of the show Rob Madge welcome icons from the LGBTQ+ community for an audience Q&A about their experiences growing up and finding positivity in the world around them.

The finale of the Queer Hero Thursdays comes with the final week of the show's second West End transfer, having extended due to public demand. Recent guests have included West End star Cherrelle Skeete and makeup artist Dominic Skinner. The post-show Q&A takes place following Thursday matinee shows and is included in the ticket price of the performance at 2:30pm.

Victoria Scone (she/they) is a drag queen and cabaret performer based in Cardiff. They are best known for competing on the third series of RuPaul's Drag Race UK in 2021, where they were the first cisgender female contestant on any series of the Drag Race franchise. They returned to compete in Canada's Drag Race: Canada vs. the World in 2022. They have just finished leading Death Drop: Back in the Habit on its UK tour and West End run, playing Mother Superior to critical acclaim.

Jamie Windust (they/them) is an award-winning editor, author and model. With by-lines for British GQ, The Independent and now in their current position as Contributing Editor at Gay Times, their work focuses on LGBTQIA+ storytelling. Their debut book In Their Shoes: Navigating Non-Binary Life was published in 2020, where it remains in the Top 10 in the Trans Charts.

Celebrating the joy and chaos of raising a queer child, My Son's a Queer, (But what can you do?), the award-winning solo show is playing at the Ambassadors Theatre until 1 April 2023, with tickets available from £25.


Written and performed by Rob Madge

Directed by Luke Sheppard; Songs by Pippa Cleary; Set and costume design by Ryan Dawson Laight; Video design by George Reeve; Lighting design by Jai Morjaria; Sound design by Tingying Dong; Orchestrations by Simon Nathan

Now extended until 1 April 2023 due to public demand.


Interview: Brodie Donougher A REAL LIFE BILLY ELLIOT STORY!

What do you get when you have a ballet dancer who dreams of making it professionally and showing the world that guys can dance too?  You have a real-life Billy Elliot story, which is happening to someone who played the titular role of Billy on the West End back home in the UK, and is now here in the US studying and training in professional ballet making his dancing dreams a reality! Not only does he dance, but he has done a few acting roles as well and even participated in a professional opera as a dancer. He is taking the role, and making it his real-life story!   At the end of the musical, we see Billy leaving his home and family to head off for training at the Royal Ballet School, so this is like getting to see the story continue beyond the stage!  Broadway World Detroit got a chance to catch up with Brodie Donougher, the last person to play the role of Billy, and see what he’s up to since his days on the West End stage 7 years ago!

Review: BLACK PANTHER IN CONCERT, Royal Albert Hall

Conducted by Anthony Parnther (isn’t that the perfect name to lead this specific venture?), this European premiere features Massamba Diop on the talking drum, an instrument essential to the score. Diop, who performed the original tracks for director Ryan Coogler, is a force of nature. After a beautiful introduction by Parnther (who surprisingly does a cracking impression of James Earl Jones as Mufasa!), Diop gave a taster for what was to come: a vibrant tattoo that goes hand in hand with masterful storytelling, filling the Hall effortlessly.


Few words grab the attention like murder. And few genres outside immersive theatre can pull you physically into a specific time and place. So why aren’t there more immersive murder productions like this one?


All in all, the evening is like a group session with no guarantees of being called out or receiving answers. Believers will believe, sceptics won’t. Without going into Michael’s “gift”, the two hours are, unfortunately, rather dull. He jumps straight in between tongue-in-cheek jokes and an entertainer’s spirit. A tense silence falls onto the audience and he starts pacing around, trying to “pick up” some “energy”. He is respectful, and kind, almost apologetic for his intrusions into people’s personal lives as he glances into nothingness, pulling information out of thin air.



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