Writer, Director, Designer: Ginger Johnson
Musical Direction: Sarah Bodalbhai
Produced by Glyn Fussell for Sink The Pink and Nic Connaughton for Pleasance
Featuring: Ginger Johnson, Lavinia Co-op, David Cumming, Mairi Houston, Mahatma Khandi, and Maxi More
13 Nov – 23 Dec 2018
I was instantly drawn to this show when I read its title: the figure of the Krampus, a devilish Central European counterweight to Saint Nicholas, has always held a particular dark fascination to me. The image of a dark, cold, snowy land, inhabited by sinister figures and child-punishing monsters, forms the very antithesis to the jolly, magical, family-friendly wonderland which we in the West associate with Christmas. I was not disappointed by this production, which used exactly this creepy Gothic horror setting (kudos to sound and lighting designers, Alicia Jane Turner and Clancy Flynn) to tell a panto story that was both fabulously dark and silly – featuring history’s campest Krampus!
Ginger Johnson, a veteran London drag queen, wrote and stars in this story about a charlatan spirit medium who embarks on a quest to return a stolen child to his grieving and impoverished family. In the process, Ginger is forced to confront her own past and its associated demons – she may have lost her son to the Krampus, but she is the only person who can stop history from repeating itself. Along the way we meet a motley assortment of characters, encompassing a crew of highly comic Morris dancers, a coven of genuinely chilling demonic witches, an Italian opera diva and her questionable translator, an elderly prostitute with a colourful history, a Rocky Horror-esque German mad scientist, and many many more.
As you can probably imagine, many of these skits did not link up with each other in any sort of narrative sense, and at times this could be disorienting as your brain tried to fit together pieces drawn from different puzzles. However, all fit perfectly with theme of a deliciously dark and naughty Christmas panto, showcasing the performers’ skills at spoof and spook, dance and drama, slapstick and soprano. Musical highlights included:
- 67-year-old Lavinia Co-op blending class and crass in a slowed-down parody of Rihanna’s S&M;
- An all-cast a capella (I think?) and actually goosebump-raising rendition of MJ’s Thriller;
- Dancing from Morris, Morris, Morris, Morris, Morris, and Susan;
- A side-splittingly chaotic version of The Twelve Days of Christmas;
- Houston sweetly singing Not While I’m Around from Sweeney Todd whilst attempting patricide;
- Look, basically every other moment of the show…
While each performer got their time in the spotlight, much of this show’s charm came from the chemistry between its characters. Mairi Houston as the token non-drag actor had a wonderful dynamic with Ginger Johnson, acting as a perfectly contrasting counterpart to the flamboyant larger-than-life queen. How To Catch A Krampus is bookended by comedic collaboration/confrontation between Ginger Johnson and David Cumming, whose relationship sparks with friction and hidden tensions – when they revealed the twist ending to the fable, the theatre erupted with shocked gasps.
A warning: this production is not for the faint-hearted, prudes, traditionalists, or children. Expect jump scares (the very first moment of the performance had me violently spilling my red wine over my neighbour’s yellow jacket, ooops), partial nudity, jokes about swords being semi-sexually inserted into various orifices, and all sorts of outrageous stunts. But a riot is rarely a safe event, and How To Catch A Krampus is certainly a riotously good time for the open-minded.