Pop Off, Michelangelo! Underbelly Boulevard Soho.

Michelangelo and Leonardo Da Vinci, the two towering figures of the Italian Renaissance, certainly met. Sources record at least one verbal altercation between the two artists in public. Most fictionalised accounts of their relationship focus on rivalry rather than friendship.  Dylan MarcAurele’s high camp slice of panto-style musical theatre blends double-entendres, moderately catchy tunes, and unpretentious sauciness into a merrily unhinged celebration of the duo’s enduring queer friendship.  One doubts the historical veracity, but who comes to Carry-On style pantomime for a history lesson?

The plot is as wispy as Leonardo’s ghost hovering over an empty canvas. Childhood friends and fellow “ravenous power bottoms” Michelangelo (Max Eade channelling a diminutive Paul Mescal) and Leonardo (an almost inconceivably flamboyant Aidan MacColl) dream of a world in which god does not hate then for being queer. Who doesn’t? The slogan “Justice, truth, and no homos” is emblazoned on the forum walls, suggesting the boys have their work cut out.

The duo surmises that the solution to their woes is to become the most extraordinary religious artist ever, which requires the attention and assistance of the Pope (a divine Michael Marouli auditioning for this winter’s panto dame jobs). But can the duo’s friendship survive ambition, betrayal, and papal chicanery on the route to the top? As one of the lyrics has it, “you can’t make a frittata without breaking eggs”. Anticipate fireworks and nonstop references to Gen Z pop culture as Pietà and The Last Supper fight it out for ascendancy. Some of the more niche references to RuPaul’s Drag Race may leave all but the most avid fans scratching their heads.

In the duo’s way stands the serpentine Niccolò Machiavelli (Sev Keoshgerian) and fiery preacher Savanarola (Laura Sillett), whose determination to extinguish moral corruption from Renaissance society sees her linger outside the back room of a dodgy Milanese gay bar. One almost wants to chant, ‘She’s behind you, Leo’. Taking the fairy godmother role is Aoife Haakenson in the form of the Hollywood gay icon (at least, apparently, in MarcAurele’s native New York), Marisa Tomei. Kurran Dhand pops up as Leonardo’s muse and probable lover, Salai.

MarcAurele’s attractive song palette ranges from Cuban Salsa, through anthemic ballads, to funky electropop. There is one showstopper to enjoy in Pick Me Girl, an acerbic comment on vacuous celebrity culture beautifully sung by Haakenson. The appealing Networking offers a pithy if overlong observation on the triumph of style over substance in superstar art circles. Sundeep Saini’s choreography makes the most of Underbelly Boulevard Soho’s limited stage space. Joe McNeice’s zippy direction keeps the momentum flowing.

Writer:  Dylan MarcAurele

Director:   Joe McNeice