by Ian Anderson
In its initial workshop run, Goldilocks and the Three Queers made for an unforgettable night out. There’s maybe a bit of chaff to cut, with the play running overlong in a packed Fringe season, but the wheat makes for delicious brownies. Definitely worth catching on its return season at BATS.
Goldilocks is the second in a trilogy of fairytales, devised by theatre company Short Term Visitor Parking. The first instalment, Hansel und Gretel, interpreted Hans Christian Andersen’s famous tale as a Nazi parable. This one gives us a potted history of the ‘70s gay liberation movement, with a dash of ‘80s (AIDS, cocaine, paranoia) thrown in for good measure.
The production is uniformly excellent, with set designer Fern Karun milking the unusual venue for all it’s worth. In a cramped building next door to a strip club, cantankerous landlord (landlady?) Ling Ling guides the audience into an intimate 1970s basement pad, where couches and beanbags await. Divider screens serve as changing rooms, and funkadelic music-man Tane Upjohn-Beatson sits in full view of the audience. We’re accepted as guests in the rented abode of an unconventional nuclear family; the Queers.