Certain thoughts are inevitable when you hear the title
Hans down one of the most hilarious nights of the Fringe: prepare yourselves, hunnies, for the revolution has arrived.
A true performer, Hans (the creation of Australian artiste Matt Gilbertson) effortlessly leads the crowd through a night of wonderfully aggressive entertainment, even incorporating a small technical mishap into a moment of sheer hilarity. No one is safe from the uprising, and no one can hide from the sequined bulge of revolution. I must admit I felt nervous sat on the end of the row, unsure as to where his tap shoes would saunter next or who would be the next lucky recipient of the VIP Hans treatment; but I suppose he was looking to control the world.
Alternating between piano, accordion and the Sound Of Music, Mein Camp is a feast for the senses, and I have to mention the incredible talent Matt has for music: the show may be more fabulous than a Celine Dion-flavoured Martini but the diva in Hans really comes out when he is on the keyboard (singing about Trump with Abba hits, of course).
Before the show I was a somewhat apprehensive about the politically incorrect theme of 1930’s Germany, but Hans uses the theme as a middle finger to what has happened, and much of the related humour comes from the lingering threat of being offensive rather than the actual act. But that’s not to say he doesn't’t shock in other ways (it’s quite surprising which emotions glittery spandex can summon), and if his control of the stage is anything like the total domination coming later, I suggest we start getting ready.
Hans down one of the most hilarious nights of the Fringe: prepare yourselves, hunnies, for the revolution has arrived.
