Such is the amount of tension and drama in “the only lesbian choir in the country” that, in some ways, it’s unsurprising there aren’t more. A schoolboy Google search revealed there are, indeed, very few choirs whose only prerequisite is being a lesbian, though there are many that focus on the LGBT+ community, with names like Spectrum Choir, Diversity Choir and Rainbow Chorus. I suspect the primary reason for there not being more lesbian choirs is that most community choirs like to celebrate inclusivity by having no barriers to entry at all – that is, your sexual orientation is nobody’s business but yours.
But suspension of disbelief, as ever, is paramount, and so the show is about the members of a lesbian choir. The choir, and by extension the audience, is exposed to a wide range of songs. Led by Connie (Shuna Snow), whose idea of contemporary music is the Great American Songbook, the members eventually push for a broader range of songs to sing. The second half, therefore, begins with a self-described “mash-up of Lady Gaga and Carmina Burana”. Let’s just say those who aren’t fond of loud music will find this show quite comfortable – it’s a choir, and a small one at that, not a band.
Perhaps inevitably, there is same-sex attraction within a same-sex choir, and from there, jealousy rears its head, putting a strain on an existing relationship between Ana (Georgie Henley) and Lori (Leah Harvey). A hard-fought for appearance at London Pride goes wrong after what appears to have been a naïve error, though, of course, not everyone believes it was a mistake. Connie’s calls for harmony – in more ways than one – seem to go unheeded, though to an extent it’s left to the audience to work out whether this is by default or by design.
Having witnessed other plays where there isn’t enough going on, I am not going to complain about the sheer number of topics and subplots that this one covers. That would be like expressing dissatisfaction about cold weather for most of the year and then complaining during a brief heatwave that it’s too hot. This production manages to cover a lot of ground in such a way that it is both broad and deep. Fi (Liz Carr) is not, for instance, a token character in a wheelchair, even if, technically, some of what she says is rather preachy, as is the case with Bridget (Mariah Louca), a trans woman. The play does well to consider both sides of the same argument, and the characters are mature enough not to engage in lifelong feuds.
Dina (Serena Mantenghi) has an intriguing story. Being from Qatar, where imprisonment and even death is on the cards for anyone the authorities suspect to be LGBT+ (regardless of whether they even are or not) brings an added dimension to proceedings, and a thoughtful discussion as to why she simply can’t ‘just get out’ of her current situation. One need not be a lesbian, or identify as one, in order to follow what’s happening – the show is relatable and accessible. The harsh realities of life creep in to practically ensure there is little space to properly heal, making for an inconclusive ending. The performances of the choristers are very believable too, with any number of internal and external factors affecting how well or how badly they sing at any given rehearsal. An engaging experience demonstrating how far things have come – and how far modern society still needs to go.
Review by Chris Omaweng
The Ministry of Lesbian Affairs, the only lesbian choir in the country, are trying to win their place on the Pride mainstage. In a run-down church hall with an OWL (Older, Wiser Lesbian) at the helm, the rag tag choir navigate love, loss and trying to agree on song choices. But despite their best intentions, they find that harmony comes at a price.
Packed with laugh out loud moments and lots of lesbian drama, this heart-warming musical comedy returns following its sold-out premiere at Soho Theatre in 2022.
CAST
Ellie – Fanta Barrie (she/her)
Fi – Liz Carr (she/her)
The Man – Zak Ghazi-Torbati (he/him)
Lori – Leah Harvey (she/they)
Ana – Georgie Henley (she/her)
Bridget – Mariah Louca (she/her)
Dina – Serena Mantenghi (she/her)
Connie – Shuna Snow (she/her)
CREATIVE TEAM
Playwright – Iman Qureshi (she/her)
Director – Hannah Hauer-King (she/her)
Designer – Anna Reid (she/her)
Composer, Co-Sound Designer and Co-Musical Director – Nicola T. Chang (she/her)
Co-Sound Designer – Tingying Dong (she/her)
Co-Musical Director – Viki Calver (she/her)
Intimacy and Fight Director – Bethan Clark (she/they)
Casting Director – Stuart Burt CDG CSA
Associate Director – Yani Elisheva (they/them)
Dialect Coaching – Khaled Abunaama
Costume Supervisor – Danielle Levy (she/her)
THE MINISTRY OF LESBIAN AFFAIRS
Kiln Theatre
13 June to 12 July 2025
