Review: Taylor-Made Or: How I Learned to Stop Worrying and Love the B*dy, The Lion & Unicorn 

There’s a lot to admire about Taylor-Made Or: How I Learned to Stop Worrying and Love the B*dy. It’s an audacious affair that takes several intriguing concepts and runs and runs with them, and there’s never a dull moment. Unfortunately, it’s also slightly too ambitious, often forgetting about certain characters and ideas, and a little too fond of very broad humour. 
 
It starts extremely strongly as we’re introduced to a rather delightful afterlife where Elizabeth Taylor (Frances Eva) and Richard Burton (Rupert Shirley) subject Virginia Woolf (Daisie Jarvis) to the well-known film which references her. But then Taylor is suddenly summoned to Earth by the distressed young trans woman Grace (Mia Juul), who’s brought the iconic actor back from the dead because she’s concerned that she doesn’t feel feminine enough and wants her advice on how to fix this. 
 
Alas, once the shock wears off, Grace is spurned by Taylor, who is far more interested in reacquainting herself with alcohol. To raise the stakes more than a little, back in the afterlife, we learn from God that Taylor’s presence on Earth could lead to the planet being destroyed. Everyone’s favourite fallen angel sees this as her chance to take revenge upon her former deity by promising “Ageing twinks” Julian (Edward Denby) and Sandy (James Tolliver) the secret of eternal youth if they can deliver Taylor to her. 
 
This is a very meta affair. There are plenty of references to just how absurd and fantastical the story is, and most of these jokes generate many a big laugh. It’s clearly meant to function as a very modern pantomime, as it has its own version of characters such as the ugly sisters and fairy godmother, while God takes up the cruel stepmother role. Meanwhile, Grace’s friendship with bar owner Octavia (Joey Price) adds a good deal of sharp one-liners and a lot of impressively performed physical comedy. 
 
Unfortunately, there are several lazy, innuendo-laden jokes that would have seemed out of place in an eighties end-of-the-pier show. When Julian and Sandy talk about selling “our souls” they say it in such a way it’s clearly a groanworthy ‘arseholes’ joke, while Taylor refers to Burton as her “Throbbing Dickie”, and both gags are repeated way too many times. And while not as problematic, it does feel a little confusing that Grace’s plight is forgotten about for long periods, making it feel like she’s a supporting character in her own play. 
 
Despite this, it’s often clear how talented a writer Nina Fuentes is. The Devil speaks in a cod-Shakespearean manner, which is full of very funny wordplay, Octavia gets to deliver some hilariously withering put-downs, and Julian and Sandy’s vanity is responsible for a good few laugh-out-loud moments. Plus, it also handles Grace’s concerns about how she’s perceived by others in a compassionate and considerate manner, giving the show real depth. So, it’s a real shame that it contains a few too many gags that will make many wince. 
 
Otherwise, this was a show that often charmed me. Eva is phenomenal as Taylor, and the rest of the cast are also in fantastic form, while the script is littered with many an inspired one-liner. Plus, it contains a central message, which is to be admired, and, if the dodgier jokes were edited out, I could imagine this becoming a seasonal joy that entertains audiences for many a year to come.

Written by: Nina Fuentes
Directed by: Luis Hopkins

Taylor-Made Or: How I Learned to Stop Worrying and Love the B*dy is on at The Lion & Unicorn Theatre until Saturday 29 November.