Reuben Kaye 
“My gender pronoun is talented” says the outrageously eye-lashed and spectacularly tall, Reuben Kaye.
A vast understatement. He could have added “filthy”, “acerbic”, “incisive”, “hilarious” … the list could go on infinitely, and it’s a wonder it doesn’t, because clearly he’s not one to hide his light under a bushel, and nor should he. He is a flamingo tour de force not to be reckoned with or understated.
As with most performers at the moment, he seems genuinely thrilled to be back strutting his stuff, and strut he does, both physically and verbally. When he asks “what did we do to deserve the 2020 that was”, the litany of reasons that spews from his deliciously ruby-red lips is spectacular – both in delivery and content. It may not be politically correct, but anyone less politically correct, and up front about it, is hard to imagine.
But there is an underlying and clever thoughtfulness to his performance. It’s part outrageous humour, part social commentary and part personal retrospective. His acknowledgement of aountry sets a new empathetic standard for what has become, often, sadly, a stock standard delivery by rote, devoid of any genuine respect. His has genuine meaning. His chronological look back at his childhood, adolescence and eventual coming out, is poignant and moving, interspersed with one liners only he could get away with.
It’s a show not for the faint of heart, and the adoring audience lapped up every second. From when he greeted everyone at the door, to when he wandered through prior to commencing, to his finale, after which he generously offered other performers the chance to plug their shows.
Along with the venue itself, (Hindmarsh Square / Mukata and the Wonderland Spiegeltent within it) Rueben Kaye is highly recommended, as long as you have a modicum of understanding of what you are in for.
    
Helen Lewis - All About Entertainment Fringe Reviewer