Make-up
Step into the green room with Lady Christina as she leaves the stage after another performance in another venue above another pub. It could be your last chance to see her, but then she's said that so many times before, why should you believe her this time?
Because tonight is different. Drag has become a drag. Christina is tired of metro-sexual audiences looking for something a little risqué that they can tell their mothers about, she's tired of young drag queens who make it look so easy, and she's tired of having to put on the make up and become someone else every night.
But what's buried beneath the make-up? Chris Laneghan has been Lady Christina for so long that he doesn't know where she ends and he begins. How can he give up being her, if there's no him to go back to?
And why did Christina come into his life in the first place? Sometimes drag is not just put on to entertain an audience.
Leave the glamour and the costumes behind, and get to know the person behind the make up.
Because tonight is different. Drag has become a drag. Christina is tired of metro-sexual audiences looking for something a little risqué that they can tell their mothers about, she's tired of young drag queens who make it look so easy, and she's tired of having to put on the make up and become someone else every night.
But what's buried beneath the make-up? Chris Laneghan has been Lady Christina for so long that he doesn't know where she ends and he begins. How can he give up being her, if there's no him to go back to?
And why did Christina come into his life in the first place? Sometimes drag is not just put on to entertain an audience.
Leave the glamour and the costumes behind, and get to know the person behind the make up.
The reviews
'A disarmingly truthful and humorous piece, adroitly constructed and beautifully performed. Moj Taylor is skilled at both humour and pathos, prickly yet inviting, welcoming the audience into his world yet always keeping a distance. A tiny acting space is used very well by Taylor and Moseley, leading to an intimacy that is never oppressive' All Edinburgh Theatre
'The script is gripping and intense. Moj Taylor gives us a powerful set of mental images through his quietly angry performance. Layer upon layer is warmly/brutally exposed and we learn and appreciate more and more what has become a muddled life. We come out challenged, disturbed, not quite angry: it’s a sharply-observed piece which raises questions, answers some, and raises more.' Buxton Fringe Review
'The writing and performance throughout Make-Up are impressive, working together to create an absolutely real character, with all the messy complexities, contradictions and – yes – flaws that entails. But the thing that really lifts Make-Up to the next level is the humanity of it all. It’s a confident piece of writing and direction, brought to life by a truly compelling performance from Taylor. North Manchester FM
'A noble and thought-provoking piece, starring an excellent Moj Taylor as Chris and his troubled drag persona, Lady Christina. Moseley and Taylor capture well the tortures and fears of Chris/Christina as she emerges from a performance, offering some poignant dressing-room reflections. A skilled and successful drama, it nudges you to new insight and understanding.' The Wee Review
'Moj Taylor plays the role with a personal belief in Andy Moseley's excellent monologue. On one level it is a tale of indignation and anger at the world, his own family and community who fail to cope with those who are different. On another, it is also an exploration of the issues of identity that can affect us all and how we want to be perceived' Daily Business
'A coruscating 50 minutes. Moj Taylor creates a highly interesting if not thoroughly likeable performer, who seems to cover a not entirely successful career with bitterness and gall. A totally believable character, who has a lot to say about Queer identity, personality, individualism and the freedom to be who you are. Well worth a visit.' Scene Magazine
'Moj Taylor is perfect as Chris/tina: the emotionally brittle quality of his monologue takes us to the heart of what drag can do. Make-up also asks bigger questions about identity and how we choose to define ourselves, particularly when living in a society that wants us to perform in a certain way. We move from realness to reality. The perfectionism of drag is stripped away to reveal an artist who, while thoroughly unsentimental, still longs for connection.' The Reviews Hub
'Make Up is a thoughtful examination of the lasting effect of prejudice featuring a strong and empathetic performance. Taylor makes subtle distinctions between the slightly catty Lady Christina and the more laid-back Christopher. Christopher recalling seeing his father while in his Lady Christina persona is a particularly powerful sequence which makes clear he is willing to try and reconcile but has recognised this is unlikely. British Theatre Guide
'The script is gripping and intense. Moj Taylor gives us a powerful set of mental images through his quietly angry performance. Layer upon layer is warmly/brutally exposed and we learn and appreciate more and more what has become a muddled life. We come out challenged, disturbed, not quite angry: it’s a sharply-observed piece which raises questions, answers some, and raises more.' Buxton Fringe Review
'The writing and performance throughout Make-Up are impressive, working together to create an absolutely real character, with all the messy complexities, contradictions and – yes – flaws that entails. But the thing that really lifts Make-Up to the next level is the humanity of it all. It’s a confident piece of writing and direction, brought to life by a truly compelling performance from Taylor. North Manchester FM
'A noble and thought-provoking piece, starring an excellent Moj Taylor as Chris and his troubled drag persona, Lady Christina. Moseley and Taylor capture well the tortures and fears of Chris/Christina as she emerges from a performance, offering some poignant dressing-room reflections. A skilled and successful drama, it nudges you to new insight and understanding.' The Wee Review
'Moj Taylor plays the role with a personal belief in Andy Moseley's excellent monologue. On one level it is a tale of indignation and anger at the world, his own family and community who fail to cope with those who are different. On another, it is also an exploration of the issues of identity that can affect us all and how we want to be perceived' Daily Business
'A coruscating 50 minutes. Moj Taylor creates a highly interesting if not thoroughly likeable performer, who seems to cover a not entirely successful career with bitterness and gall. A totally believable character, who has a lot to say about Queer identity, personality, individualism and the freedom to be who you are. Well worth a visit.' Scene Magazine
'Moj Taylor is perfect as Chris/tina: the emotionally brittle quality of his monologue takes us to the heart of what drag can do. Make-up also asks bigger questions about identity and how we choose to define ourselves, particularly when living in a society that wants us to perform in a certain way. We move from realness to reality. The perfectionism of drag is stripped away to reveal an artist who, while thoroughly unsentimental, still longs for connection.' The Reviews Hub
'Make Up is a thoughtful examination of the lasting effect of prejudice featuring a strong and empathetic performance. Taylor makes subtle distinctions between the slightly catty Lady Christina and the more laid-back Christopher. Christopher recalling seeing his father while in his Lady Christina persona is a particularly powerful sequence which makes clear he is willing to try and reconcile but has recognised this is unlikely. British Theatre Guide
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Christina's Crew of Creatives
Make-up is brought to you by NoLogoProductions. The team for this production is; Lady Christina: Moj Taylor Writer: Andy Moseley Directed by: Andy Moseley and Moj Taylor Sound and Light: Emma Burton Photography: Bethany Blake (Brighton performance shots by Siobhan at 16 Beasley Street Photography) |
More to see and read
Want to see some behind the scenes footage of lockdown rehearsals? Click here Want to read about why Drag Race divides opinion amongst drag artists and fans? Click here Want to know more about Section 28 legislation that was in force in the UK from 1988 to 2003? Click here Want to know more about Lady Christina, the man behind her and the parents behind both of them? Click here Want to see more pictures of the live show and short film? Click here Want to buy the script of Make-up? Click here Want to find out more about getting the show to come to your venue? Click here |
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Your green room invitation is pending...
Following a 2022 that has seen us at Eden Court, Inverness, Craignish Village Hall, Ardfern, Underground Venues, Buxton Kings Arms Theatre, Manchester The Rockfield Centre, Oban Underbelly, Edinburgh, and Wonder Hoose, Aberdeen, we're just about finished for the year! But we will be back in 2023 and our first date is already confirmed for CatStrand, New Galloway on 25 February.
If you can't wait, or can't make it, a live recording of the show was be presented as part of the PRO.ACT 2022 Fest raising funds for Ukraine. Head over to our PRO:ACT Fest page for more information and to watch the show and make a donation.
If you can't wait, or can't make it, a live recording of the show was be presented as part of the PRO.ACT 2022 Fest raising funds for Ukraine. Head over to our PRO:ACT Fest page for more information and to watch the show and make a donation.
Production History
Make-up was due to be performed at Brighton, Manchester, Buxton and Edinburgh Fringe Festivals in 2020. Needless to say, most of these did not happen, but that was not the end of the story. Thanks to the Highlands and Islands Touring Network we were able to make a 15 minute short film version of the play. It was seen by The Marsh Theatre in San Francisco and we were invited to perform the full play online for their International Solo Festival in October 2020. That same month, the show finally had it's first performance in front of a live audience at CornerHOUSE, Surbiton ahead of a four day run at Sweet Werks, Brighton for the boutique style 2020 Brighton Fringe. A recording of the show was also part of Melbourne Digital Fringe in November 2020.
In 2021, Make-up returned to Brighton Fringe at Rialto Theatre, and was also performed at Under The Fringe, for Buxton Festival Fringe. We then did a short tour of Scotland in October thanks to support from Creative Scotland and North East Arts Touring that helped to fund shows at Burgh Hall, Fersands and Fountain Community Project, and Bennachie Leisure Centre. And with theatres opening up in 2022, Make-up is coming to even more stages. We've continued touring Scotland with shows at Eden Court, Inverness and Craignish Village Hall, Ardfern, and we've headed back to England for shows in Buxton and Manchester. We've now got more dates in Scotland lined up for the rest of the summer, as you'll see at the top of this page!
In 2021, Make-up returned to Brighton Fringe at Rialto Theatre, and was also performed at Under The Fringe, for Buxton Festival Fringe. We then did a short tour of Scotland in October thanks to support from Creative Scotland and North East Arts Touring that helped to fund shows at Burgh Hall, Fersands and Fountain Community Project, and Bennachie Leisure Centre. And with theatres opening up in 2022, Make-up is coming to even more stages. We've continued touring Scotland with shows at Eden Court, Inverness and Craignish Village Hall, Ardfern, and we've headed back to England for shows in Buxton and Manchester. We've now got more dates in Scotland lined up for the rest of the summer, as you'll see at the top of this page!
Thanks to...
NoLogoProductions would like to thank; Bronwen and all at the Touring Network, Lynn and all at NEAT, Mandy at Craignish Village Hall, and all at Burgh Hall and Eden Court who have made it possible for us to bring the show to venues across Scotland. Thanks also to Sweet Venues and Marsh Theatre for making it possible to get the play on in two continents in one day in October 2020 and to Ian and all the cornerHOUSE for their support in making the promo film of the play.
Thanks also to Andrew Jefferson-Tierney for the idea that developed into the original short version of the play, Catherine Exposito, Arron Usher and Blazing Hyena for being the first people to put that version before an audience at a scratch night and for the suggestions that played a vital part in getting the ball rolling on the longer version, Breakwater Theatre for commissioning the writing of the longer version, Jayne Williams and New Perspectives Theatre Company for mentoring and support with the final script, Bethany Blake for the superb photos and trailer, and Siobhan for the performance shots from Brighton Fringe. Also thanks to all at Leith Depot for use of their venue for rehearsals, and more thanks to Eden Court for filming the show in February and providing us with a superb record of it.
Thanks also to Andrew Jefferson-Tierney for the idea that developed into the original short version of the play, Catherine Exposito, Arron Usher and Blazing Hyena for being the first people to put that version before an audience at a scratch night and for the suggestions that played a vital part in getting the ball rolling on the longer version, Breakwater Theatre for commissioning the writing of the longer version, Jayne Williams and New Perspectives Theatre Company for mentoring and support with the final script, Bethany Blake for the superb photos and trailer, and Siobhan for the performance shots from Brighton Fringe. Also thanks to all at Leith Depot for use of their venue for rehearsals, and more thanks to Eden Court for filming the show in February and providing us with a superb record of it.
