Review of Jonny Woo’s ‘Suburbia’: “An inalianable sight to be gay”

The Soho Theatre welcomes the drag queen–performer’s latest solo show, exploring the path of a 80s – 90s gay man in his pursuit to find his true self. Guillermo Nazara shares his views on the show, to let us know if this musical declaration of self-love and determination shares a strong enough message.

AIDS is part of every gay man’s journey. HIV positive or not, we’ve all been exposed to it in some way – and its scars can last for a lifetime. Growing up in the late 90s, I was bombarded with advertisements warning about the dangers of this terrible disease. It could affect anyone, but the stigma of a ‘homosexual illness’ still persisted. When I was seven, I remember asking how it was possible a virus could affect only queer men (though it didn’t). The reply that I got was that  it was the result of breaking the laws of nature.

A side of me was broken at that very moment – by that time, I already knew what I liked. I’ve managed to rebuild it, though. Nobody can destroy me – it’s usually the other way around (*wink, wink*). But the harrowing shade of that statement has lived on – the same way it’s endured all through the suffering of all those forsaken people who were rejected the love and compassion they deserved.

As harsh as this notion may be, let me reassure you this is not a show to leave in tears – probably, that will be the last thing you’ll be thinking of when you get to its (and his) bottom line. If you’ve come for drag, you’ll do it again here. If your intentions were reconnecting with your younger camp self, then the Soho Theatre is the right place for you. And if you’re just looking for a night of feel-good fun with a few introspective vibes, you don’t need to search any further.

Jonny Woo’s is all of that, and potentially more. It’s a true story told through make-believe – and that’s precisely what makes it so genuine. It’s a projection of all we are and all we wish to be as members of the LGBT+ community: free, happy, empowered, and in the end, ourselves. It tells its story with no taboos – while bringing every possible one into its speech. It’s an act of pride and liberation; of openness about a reality that’s not always been kind, but that it’s our duty to mold until we form the path that we want to walk.

Jonny Woo is the perfect example of that idea. He wanted to be onstage, and nothing would ever stop him – not even his skills. Is he the best singer? Unlikely. Are his lip sync abilities great? Not even close. But I swear very few other performers can bring the magnetism he so effortlessly displays. You can’t help but be completely drawn into his act. It’s like a drug that, little by little, penetrates into your psyche – and eventually, your soul. Love it or hate it, one thing is for sure: you’re not bound to forget it.

Touching (don’t ruin it), electrifying and extremely entertaining, Suburbia takes audiences on an exhilarating ride downtown (and across the globe) through its gripping, ocassionally thought-provoking jukebox manifesto of resilience, acceptance, and individuality. It might be far from perfect in my angles, but it’s actually that lack of polish that contributes to the dodgy charm of the piece. After all, this is a love letter to the emancipating spirit of the 80s and 90s. In thar aspect, this is closer to fine.

All pictures credit to Harry Elletson.

Suburbia plays at London’s Soho Theatre until 25 January. Tickets are available on the following link.

By Guillermo Nazara