Book by Rae Binstock
Music & Lyrics by Brandon James Gwinn
Direction and Choreography by Paul McGill
Written by Dominic Corr
Midnight at the Palace, playing at the Gilded Balloon Patter House, is an unruly tribute to the legendary drag ensemble The Cockettes—those glitter-drenched, gender-bending pioneers of 1960s San Francisco. With a cast of musical theatre aficionados and dedicated pros, and a premise bursting with radical joy, the show promises a diamanté-studded celebration of rebellion and queer artistry. And while it delivers plenty of energy and revelry, technical hiccups and spatial limitations keep it from reaching its full fabulous potential.
A frequent staple for the cast is Andrew Horton as Hibiscus, the flower-crowned radical at the heart of the chaos. Horton brings charisma and vocal strength to the role, anchoring the show with a sense of purpose amid the glitter storm. Baylie Carson (Mean Girls: The Musical) is a standout as Sweet Pam, delivering sass and sincerity in equal measure. While Gregory Haney (Hamilton) as Sylvester and Al Cammish (West Side Story) as Scrumbly round out the central quartet with flair, while ensemble members like Al Knott, Jordan Walker, Aaron Douglas, and Becky Sanneh add texture and volume to the cast – though the venues sounding issues begin to creep up once the stage is full.
Full of insight and affection, Rae Binstock’s book captures the anarchic spirit of The Cockettes with humour and heart. Brandon James Gwinn’s score is lively and varied, though the lyrics occasionally lack the memorability needed to elevate the songs into longevity. Vocally, the cast is uniformly strong, with harmonies and solos delivered with gusto — even when battling microphone issues that plagued several numbers.
Director and choreographer Paul McGill keeps the pace brisk and the staging inventive, but the small performance space proves a challenge. With such a large cast and big personalities, the show often feels cramped, and some of the choreography loses impact in the tight quarters. Sound design is a touch inconsistent and falters at times, overwhelming the lyrics, and drowning some of the emotion, save for one slower, powerfully emotional number late into the show.
Visually, Midnight at the Palace leans into its kitschy aesthetic with gusto. Allen and Adcock’s costume and set design embrace a DIY ethos, with cardboard props, glittery fabrics, and ramshackle charm that evoke the spirit of underground theatre. It’s messy, loud, and unapologetically queer—but there’s room to push further. The show hints at risqué antics and radical politics, but often pulls back just when things get interesting. A bolder embrace of its queer roots and more playful risk-taking could elevate the production from fun to unforgettable.
Despite its flaws, Midnight at the Palace is a celebration of chosen family, artistic defiance, and living life loudly. It’s a glitter bomb of a show with heart and ambition, even if it occasionally stumbles in execution. With some technical tightening and a more fearless approach to its themes, it could become a Fringe favourite. For now, it’s a spirited, imperfect tribute to the queens who came before—and a reminder that sometimes, the mess is part of the magic.
A Glitter Bomb of a Show
Midnight at the Palace runs at Gilded Balloon Patter Hoose – Big Yin
Running time – Sixty minutes without interval
Photo credit: Damian Robertson
Review by Dominic Corr – contact@corrblimey.uk
Editor for Corr Blimey, and a freelance critic for Scottish publications, Dominic has been writing freelance for several established and respected publications such as BBC Radio Scotland, The Skinny, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League The Wee Review and Edinburgh Guide. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
