Jake Griffiths talks to Christopher Hamblin (Pianist and Executive Personal Assistant to Latrice Royale) about gender and sexuality and music.
The main worry that seems to follow duos is the fear of being steak and eggs instead of surf and turf. When I went to see Latrice Royale I dealt with every emotion, there was a comedic elegance with a complete fearlessness in the face of vulnerability. During the powerfully crafted narrative of the show, a piano accompaniment was running alongside. It created a telekinetic conversation, one of warmth and knowledge.
I was later to find that the performers in front of me were lovers, the connectivity completely natural yet without overindulgence. As I slowly experienced an intimate and theatrical performance, the oxymoronic nature of the piece made me fascinated. As I became hopelessly entranced I realised that I had to talk to the silent assassin, the accompanying force behind the piece.
I snuck into the green room (which wasn’t green) and organised a chat.
I was to find out that the man was called Christopher Hamblin, the partner, and pianist of Latrice Royale. We had an honest conversation about gender, sexuality, drag and music. I left with a greater understanding of performance and the importance of individuality in the face of prejudice.
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