LEAVE IT ON THE FLOOR

‘Ball Community’ is the term used to describe the LGBT subculture in the US where people ‘walk’ for prizes at ‘balls’. These ‘walks’ can include outrageous costumes, drag personas, dancing and vogueing.  Many of those who take part in the balls ‘walk’ for a specific team, or ‘house’, which is run by a single leader. 

Knowing literally nothing about this underground world that inspired Madonna’s ‘Vogue’, I was quite taken aback from the outset by how balls-to-the-wind the movie appeared to be. Beginning with an eponymous company number, which included drag queens, outlandish dance moves and catwalking like no supermodel could even dream of, this is a film which grabs you by the scruff of the neck and drags you from start to finish, taking you on a surprising emotional journey along the way.

Centred around love, loyalty and friendship within this colourfully bitchy culture, Larry crafts a touching and believable love triangle between ‘ball’ newcomer Brad (the talented Ephraim Sykes), flamboyant youngster Carter played by the outstanding Andre Myers and Princess Eminence (Phillip Evelyn), the 2^nd in command of ‘House Eminence’. Having been thrown out by his mother for being gay, Brad quickly becomes immersed in the LA Ball Community, taken under the wing of Princess Eminence, much to the disdain of the House ‘Mother’, Queef Latina; possibly one of the greatest names in the history of cinema. Following arguments, betrayal, fabulous dance offs and a transgendered pregnant Lady Gaga-like named Eppie Durall, all comes good and we return to our opening scene for a rousing finale.

Despite being a screen musical, it is in the characters and their relationships that this film excels. Touching portrayals of heartbreak, true love and conflict keep the audience with the story from start to finish and often has them rolling with laughter. Andre Myers plays the outwardly cocky, inwardly gentle Carter who you can’t help but root for over the lead. Evelyn walks a fine line between hilarious and ridiculous, and Sykes is believable in his portrayal of the put upon ingenue. However, it is Barbie-Q who steals the show. Queef Latina has the best lines, the most touching dialogue and some of the best numbers, allowing Q to produce the best Effie White I have ever seen a man do!

Sadly it is the music that lets the film down. With too many conflicting styles, including rap, dance, R&B and Little Shop-esque kitsch, it becomes an obstacle to the storytelling and the transition from speech to song is more often than not, very awkward. This is a shame as the choreography is excellent, and the cast very talented.

Ironically, for a film that knows what it wants to portray, it is very confused about how to address it. Sheldon Larry’s passion is evident and he has crafted a beautifully touching piece. The movie is hindered by it’s musical ideas, and could have been an outstanding indie darling as a straight (no pun intended) piece, but that is not to say it isn’t enjoyable. As a view into a world most of us will never know, and as character driven entertainment Leave It On The Floor is one to watch. As a modern musical it is odd and falls short of it’s Beyonce-inspired aspirations, and also includes the most surreal funeral scene ever put to celluloid.

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REVIEWED: 01/08/12
By @Tom_Norm 

3rd - 16th August 2012
Leicester Square Theatre, London, WC2H.

okay so i was in a corny musical kinda mood and i went on netflix under musicals

and i watched the new footloose which was decently corny

but when i went to pick another movie i didnt read the description or anything and i just clicked it cause it looked like the same stomp the yard/step up crap and omg was i so wrong

this is literally THE MOST homosexual dance movie i’ve ever seen

i mean..

Mama Queef? Really? 

Drag queens…drag queens everywhere