Loud, proud and in your face – it is time to meet The Cockettes. Birthed in the era of free love and flower power, this flamboyant group of misfits are back to give Edinburgh audiences a San Francisco slice of queer history.
Founded by “Hibiscus” (a.k.a. George Harris), most recognisable for being photographed putting a flower into a soldier’s gun during the Vietnam War protests, the Cockettes were residents of the KaliFlower commune, a safe haven for young queer people. Dedicated to creating free art and theatre, their outrageous performances evolved from a wild, spontaneous chorus line to LSD-fueled weekly midnight shows at The Palace Theatre.
Midnight at the Palace follows the group from their early days in San Francisco through to their disastrous attempt to go mainstream with a three-week residence in New York. Full of knock-out musical numbers, hilarious vignettes, and steeped in the politics of the era, this is an anarchic piece of theatre that stays true to the artists’ avant-garde, gender-bending and transgressive creativity.
With music and lyrics by Brandon James Gwinn and book by Rae Binstock, the songs are truly outstanding: expertly written with power, pathos and plenty of humour. Andrew Horton gives an remarkable performance as Hibiscus, with strong vocals and singular stage presence. Al Cammish provides a winsome counterpoint as Scrumbly, likeable and sympathetic, while Gregory Haney is exemplary as Disco diva Sylvester. Baylie Carson gives an stellar performance as Pam, driving the narrative with their superb characterisation and raising the roof with exceptional vocal skills, particularly on “Take Me Home”.
This is truly an ensemble piece, with the whole cast fully committed to the ethos and style. There are occasional issues with sound balance, but the energy and verve keep the audience in the palms of their hands throughout. Max Allen and Elliott Adcock’s production design is impeccable, with a special mention for the costuming and performance during Horton’s rendition of “A Crab on Uranus”.
Director and choreographer Paul McGill has shaped the piece so that it is both thoroughly well made while retaining the “rough around the edges” quality of the original troupe. Unexpected methods are employed to reference famous faces, from Truman Capote to Divine, and the scene changes are some of the funniest moments. The politics of the time are never too far away, and the appeal of this oasis of authenticity in an era of cvil unrest is all too clear. Living as we do in a similarly turbulent time, we need our glitter-encrusted weirdos now more than ever.
By Deborah Klayman
Midnight at the Palace plays at Gilded Balloon Patter House, Edinburgh until 24th August 2025.
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