Christina Bianco: In Divine Company continues at the Menier Chocolate Factory, London until 20 May 2023.
Star rating: five stars ★ ★ ★ ★ ★
Christina Bianco’s rise to West End stardom has been a joy to witness. Not only has her creative output – from her many viral videos and solo shows to her starring roles in musicals like Funny Girl, Little Voice and Forbidden Broadway – been consistently entertaining, but every second the New Yorker has been on stage, she has demonstrated a next-level talent that absolutely justifies – nay, demands – her success.
In many ways, In Divine Company feels like the culmination of her many successful solo shows from the last decade. There are the acclaimed impressions from the world of musical theatre and beyond, plus hilarious and touching stories and tributes to those she credits with inspiring her career, all with the intimate atmosphere that only a cosy venue like the Menier Chocolate Factory can provide. Now that Bianco is a bona fide leading lady with a run as Glinda the Good Witch in the London Palladium’s The Wizard of Oz beginning this summer, we could sadly be witnessing the end of such small-scale cabaret shows.
If this is the last opportunity to see Bianco’s magic in a modest venue, you would be a fool to miss it. Some impressions may be familiar to you if you’re already a fan, but there are plenty of surprises and new twists. Ordinarily in a review I would talk about specific songs, but it feels like that would be a spoiler at a Christina Bianco show. Part of the joy is never being able to predict which diva you’re about to hear sing which unlikely song.
It isn’t all impressions of course, and it isn’t even necessarily all comedy. Some of the night’s best moments come when Bianco lets rip with her own voice. Given she can hit the operatic highs of Kristin Chenoweth and the earthy growls of Christina Aguilera, it stands to reason that her natural instrument is something quite extraordinary. But, beyond the undeniable technical brilliance of her vocals, Bianco digs deep and makes the songs her own, imbuing each with beautiful truth and resonance. The greatest theatrical achievement is the connection she achieves with both the material and the audience. We are all there because we love theatre and its great divas, and Bianco ensures we are all brought together in that love.
Also deserving of great credit is musical director/pianist Ryan MacKenzie. Not only is his piano work faultless, but his arrangements ensure each song fills the space sonically with no need for additional musicians. There are even improvisatory moments where he and Bianco work together to arrange Eurovision hits in styles suggested by the audience. Even when things should be falling apart, the talent of these two prevails and inspires complete confidence from the audience throughout.
Beyond the onstage talent, Emma Chapman’s lighting design makes clever use of the Menier’s technical capabilities, keeping the backgrounds colourful and highlighting every button with dramatic shifts. The final number even showcases a particularly creative lighting effect that is honestly above and beyond for show like this. Brava!
The accuracy and skill of Bianco’s impressions are impossible to fault, but what is most remarkable is that they are completely devoid of malice. So much comedy is based on cynicism or meanness, and that is especially true when it comes to celebrity impersonation. Bianco’s impressions, however, are a true celebration of the divas we all love. That collective admiration is what gives her shows their genuine warmth and makes you want to attend again and again.
In Divine Company is an absolutely essential night of comedy and music for anyone with a love for musical theatre. Make sure you catch it before the all-too-short run ends.
Ian Bowkett
- For an exclusive interview with Christina Bianco about In Divine Company and the musicals that mean the most to her, download episode 14 of The Mayor of Musical Theatre Podcast now! Produced in association with Musical Theatre Review.
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