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REVIEW: Beverly Kills serves up a devilish delight with 'Heaven & Hell'


A group of sinners walk into an old church. Next-door, the raucous applause, screams and shouts of the NRL Magic Round boom through Suncorp Stadium; the echoes of Sweet Caroline and a half-hearted chant soundtracking the dark Milton street.


It sounds like the start of a bad joke - but it's a poignantly ironic entrance into the mind of Brisbane drag superstar Beverly Kills. It's a magic only the Anywhere Festival - which sees theatre works performed in the least expected places - can create.


'Heaven & Hell' explores themes of religion, queer identity and hell (in the form of a bachelorette party) through the lens of Beverly Kills. The show was first created for the Adelaide Fringe Festival, where it had a successful run delighting and thrilling audiences.


As the audience find their seats, Ariana Grande's 'God is a Woman' fills the room, swiftly followed by Lil Nas X's 'MONTERO'; a fitting start to the night's ethereal throughline. The show opens with a heavenly number by Brisbane queen Ann Xiety. Within seconds, it's clear to see why she's been chosen as the opening act, with her intricately choreographed pirouettes and high kicks.




Then the show proper begins. We're treated to a high energy burlesque number themed around heaven, before a surprise cameo in voiceover form by God herself - fellow Drag Race Down Under alum Minnie Cooper, who sets the premise of the show.


Beverly has died of hairspray-related causes. This "twink in headlights" is on her way to the Pearly Gates, but not before she proves herself worthy of a life with the big G O D. It's a simple concept, but more than enough to lock the brakes on a rollercoaster through Beverly's religious upbringing and eventual turn to sin.


The costuming of the show is spot on. Told through a series of vignettes (Heaven, Purgatory and Hell respectively), Beverly's signature burlesque style shines through in every sequin, feather and butt-plug (yes, you read that right).


This is, of course, a drag show at heart - complete with all the regular tropes. We're talking heckling, extreme audience interaction, and more dirty fun than you can poke a dildo at (literally). A series of loosely connected numbers are interwoven with effective comedic stories, games and spoken word pieces.





The highlight of the show comes during the 'Heaven' portion of the evening. Beverly "baptises" members of the audience using holy vodka, all to the tune of Trisha Paytas' 'I Love you Jesus'; followed swiftly by an interpretation of the viral YouTube video 'Rappin' for Jesus'.


Weaving spoken word lipsync with high-energy music spanning several genres and plenty of laughs, the show moves at a break-neck pace. A potential issue arises where costume changes are necessitated, but a genius use of hilarious soundscapes (including a half-time bathroom break) ensures there's never a lull.


The lighting and sound design are immaculate. Not once did was the audience interrupted by the revelers next-door, and the dark lighting spectacularly reflects off the Christ Church's stained glass panels and gorgeous wooden interior.


With each sinful stunt more sickening than the last, Kills splits, kicks and flips her way from song to song. It takes an incredible talent to hold the interest of a room full of sober drag fans - especially when the 'Lipsync Lalaparuza of sport' is happening less than 50 metres away ... but it's a talent Beverly undeniably possesses. Her ease on and off the mic assures the audience they're in safe - if a little sacrilegious - hands.




Where Beverly truly shines is the rapport she builds with her audience. Through side-quips, inside jokes and biting banter, this is a queen who knows how to command a room. At times, it's reminiscent of the power a pastor holds over the congregation; this truly is the church of Beverly Kills, and every audience member is along for the ride.


Beverly Kills' first foray into the one-woman-show is a masterfully macabre and colourfully campy exploration of religion, queerness and personal identity. The intimate church setting steeps the entire night in a layer of fitting irony. It's a shockingly sacrilegious performance, but Beverly still manages to find some veneration for Christianity amongst all the shenanigans.


Add to the church setting the booming NRL game next-door, and you've got a recipe for unadulterated queer joy in the most unlikely of places.


Review ticket provided by Beverly Kills & Anywhere Festival.


'Heaven & Hell is set to tour the country's fringe festival circuit later this year. You can secure tickets at thebeverlykills.com.

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