They were the most outrageous queer collective in the 1970s, now the Cockettes are back, thanks to a new musical. And according to Musical Theatre Review critic Fiona Orr, Midnight at the Palace is a riotous, four‑star evening that drops the audience into the heart of the Cockettes’ San Francisco — through the wide eyes of Pam, played with yearning and curiosity by Baylie Carson. From the first moment the fourth wall is abandoned, the production favours immersion over exposition: make‑up, sequins and the constant promise of onstage mischief create an intoxicating sense of being invited into a rowdy, loving commune rather than merely watching one.
The show’s success rests heavily on a vivid company and bold visual choices. Andrew Horton’s Hibiscus dominates the room in a succession of exuberant costumes; Gregory Haney’s Sylvester and Al Cammish’s Scrumbly provide emotional and comic counterpoints; and Paul McGill’s direction and choreography propel ensembles and solo moments alike. Critics from other outlets picked out those same strengths: The Guardian singled out Carson’s characterful singing and McGill’s cheeky choreography, while independent reviewers praised Allen and Adcock’s DIY‑inspired costume work and a production design that turns tatty glamour into theatrical electricity. Brandon James Gwinn’s original score is repeatedly cited as giving the company ample, show‑stopping material.
The production is billed as a new musical inspired by The Cockettes with book by Rae Binstock and music and lyrics by Brandon James Gwinn, and the Edinburgh Festival Fringe listing confirms performances at the Big Yin in Gilded Balloon’s Patter House at Adam House on Chambers Street, typically at 21:30. Venue information notes the Big Yin has wheelchair access and a fixed rake; ticketing and scheduling services list the run from late July through to 24 August 2025. Audiences should be aware of content warnings on the official listing — partial nudity, strong language and sexual scenes — and the usual late‑night timing of the slot.
Seen together, the responses coalesce into a clear impression: Midnight at the Palace is a vivid, affectionate tribute to a queer counterculture that privileges sensation and solidarity over tidy narrative resolution. For audience members attentive to design, performance and the queer histories the piece invokes, it offers a joyous, messy evening; for those seeking a fully polished dramatic arc, the show occasionally frustrates. The production presents itself as celebration rather than elegy, and in that mode it largely succeeds.
Source: Noah Wire Services
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