She's No Angel: A Mae West Vaudeville She's No Angel covers the 40 years before [Mae] West went to Hollywood and put sex in the movies. Before that she was putting sex on stage, writing, acting and singing in shows such as, well, Sex. In She's No Angel, West offers a director this synopsis: "Sex ... blah, blah, blah ... sex ... blah, blah, blah ... sex!" Barry Lowe's superb book for this pocket musical renders the vaudevillian half of West's career as a series of sideshow acts. The most ingenious is a boxing match between Anthony Comstock, founder of the Society for the Suppression of Vice, and spokesman for the libido, Sigmund Freud ... Sean Peter has arranged his enjoyable score for a sextet of musicians ... The author has an ear for West's droll innuendo." - Colin Rose, The Sun-Herald, 28 February, 1999 "She's No Angel! delivers on all fronts ... the razzle dazzle resting squarely on the screen idol's lavishly proportioned and costumed frame, and the two young men assisting her feats of shimmering defiance. Written by Barry Lowe, it features witty songs by Sean Peter, and director Jack Webster gives it a larger-than-life verve that threatens to spill out into Queen Street. The vaudeville is tailored to the talents of [George] Hoad ... He makes Mae West a commanding, no-nonsense figure, whose life and career are played out in the manner of a tawdry circus ... Lowe's book is knowing and wry, especially when it delves into the illusions and conundrums of drag and starts to reveal the flaws and blind spots of the silver screen goddess as she loses touch with those who emulated her and helped make her a star."          - Bryce Hallett, Sydney Morning Herald, 18 February, 1999 (page 11)       "She's No Angel! delivers on all fronts ... "     "She's No Angel! reveals [Mae] West to be quite a monster by curtain down. Director Jack Webster keeps the action flowing in pure vaudevillian style with scene after scene reaching its bitter/sweet climax before we are carried along to the next one. There are too many moments of hilarity to mention each and all, however, I must compliment the production for providing one of the most wonderful menstrual cycles I've ever seen on stage! ... The script is well shaped and although the entertainment value is obviously the main thrust, there is a deeper underlying irony that unfolds and leaves a somewhat astonishing aftertaste. here is a neat musical show with memorable songs and it could fit into any theatre big or small."   - David Jobling, QueerStage, February, 1999+