Frank’s Closet – Union Theatre

Andy Moss and Luke Farrugia in Frank’s Closet at the Union Theatre, London. Picture: Danny Kaan

Frank’s Closet continues at the Union Theatre until 30 March 2024.

Star rating: four stars ★ ★ ★ ★ ✩

Stuart Wood’s tenderly affectionate 2009 show fits the shabby chic of Union Theatre perfectly. It’s all layers of tulle, red lights and painter pillars thanks to the appropriately retro designs by Catherine Phelps (set) and Ben Bull (lighting).

It’s a drag queen show in which five of seven performers are male and cheery campness is what makes it work so well. Sasha Regan, as ever, works wonders with her cast.

The eponymous Frank (Andy Moss) is about to marry his partner Alan (unseen until the final scene). The problem is that Frank has been collecting theatre costumes all his life and now they have to go – to the V&A.

So we are treated to an exposition of the costumes and the people who wore them while he explores his closet one last time. Gentle, witty nostalgia is what this is all about.

Not that there’s anything self-indulgent about this show which pounds along with zippy energy and some fine singing, often in harmony, and although there was a slight issue with sound balance (band louder than singers) at the start on press night, it soon settled.

Moss is rueful, engaging and appealing as Frank who loves the costumes and their wearers so much.

The four Gaiety Girls – Oliver Bradley-Taylor, Sarah Freer, Olivia McBride and Jack Rose –  work slickly together as a chorus and briefly fill other roles as Frank relives his life story. All are strong and, as a bonus, they look suitably wacky because of an extreme difference in heights.

The real star of this enjoyable show, though is Luke Farrugia who plays seven divas, each doing a star turn. His knowing “naughtiness” as Marie Lloyd is utterly delicious and once we’ve had a glittering Ethel Merman and a rather sad but very funny Judy Garland it’s a case of “now sits expectation in the air” as you wonder what on earth he’s going to produce next. He sings with terrific clarity and the movement for each character is spot on. It’s a stunning performance.

Steven Metcalf has had a field day with the costumes for this show, several of which are at the make-you-gasp level. The enormous plumed hat for Marie Lloyd is hilariously dramatic and I loved the tux design for Garland and the golden wings for Agnetha Faltskog.

Full marks too to Anto Buckley, musical director on keys. He ensures that every number flows coherently and there’s outstanding work from Peter Crocker on trombone and Sam Balchin on trumpet.

Good as Paul Toulson is as Sheila Blige, personally I could have done without the show being bulked out with a camp comedy routine and songs in the foyer before the show and before Act II. The show is excellent and doesn’t need this add-on.

Susan Elkin