Hangman takes after the highs and lows of it’s six stars, with Jonny Charm self-broadcasted ‘ringmaster of this huge old glittery bazaar’s dwelling over Scottee, the most youthful, lastly most standard of the six, (he now has a show on Radio 4!), Holestar, the tranny with a fanny, Golden the transitioning transgender glutton, John Sizzle an immaculate parity of DJ, Ruler and furniture upholsterer and Pia bicycle technician, transgender show-young lady and prophetically catastrophic prophet. What’s more, the highs experienced by these six companions are only that and thusly are a wild thing to observe! From a top-of-their-diversion execution at The Regal Musical drama House, to the establishing of the primary ever gay stage at Glastonbury, to a group drove boob-work pledge drive in East London.
As the slogan goes in any case ‘every one of that sparkles is not gold’. With the lows including drug-incited hospitalizations, familial alienation and false assault assertions, and also obviously the background of homophobia that the greater part of the six fight with in some structure amid their developmental years. Thankfully there is no sense here that Rothbart or his players mean to reluctantly pull on the gatherings of people heartstrings, it simply is the thing that it is.
Exemplifying this cozy yet particularly un-silly presentation is John Sizzle on his HIV finding seven years earlier, ‘on the off chance that you’ve been doing your occupation right you have it’ he says in the wake of noticing that most likely forty to fifty for every penny of his companions have it. He concedes he maybe abuses ‘hangman’s tree amusingness’ as a strategy to incapacitate individuals. The film closes on an up however with a feeling of both the legacy of these drag symbols and also their resilience, John Sizzle and Jonny Charm both propose drag to be a youthful persons amusement at different focuses in the film yet neither appear to be capable or willing to surrender it completely and thank heavens for that!