Blue Wizard

Nick Coyle’s Blue Wizard promotes itself as “the gayest one-man show ever” and it can’t be far from the truth. Enter the Blue Wizard. He’s hyper-glitz, hyper-glam, and hyper-gay.  And it works.  

Coyle’s outset struggles to meet its uber energetic entry with extended scenes of awkward humour and forced small talk but redeems itself consistently. Lasers that bounce off the walls and floor, strobes that doesn’t want to stop, and the smoke machine transport the audience visually into the Wizard’s world; it’s indulgence and extravagance and it absolutely won’t take no for an answer. His outfit is too scandalous, his gaze too seductive, and his camp too camp but that’s what makes it.

This is Sydney, 2015. We have seen gay and we know it. Coyle’s ultimate triumph is that he manages to shock us with ‘gay’ again and that’s the most impressive thing about the show. It reimagines the intensity of identity and how the extravagance of early homosexuality exploded into the public eye. Identity is the number one revolution and his is flirting, fucking, and dancing. Coyle has crash-landed into Belvoir with a fabulous fucking bang.

Belvoir Downstairs to 15 Mar