Produced and presented by The Brew Makers Theatre Co
Written by Ellamae Cieslik
The Egg Rumour is an original musical about the “new corporate perk” of egg freezing so that women can work more and longer hours without being distracted by their reproductive needs.
The script was written and produced by the lead actor, Ellamae Cieslik. It uses intentionally shallow characters to mount a social critique on the corporate world which treats its employees as interchangeable resources with no regard for their actual desires. It focuses, however, on a fairly narrow target – egg freezing is a relatively small issue for women in the workplace, and I was surprised to see it spun out into an entire hour.
The script is strongest when it leans into humour – there are a few laugh-out-loud moments based on misogynistic etiquette manuals and good comedic timing. However, as the piece clips along quickly, without giving most of the characters names or any realistic depth, the more dramatic moments lack any emotional punch. There were moments that felt undeveloped or unresolved – the Egg Whisperer is consistently mentioned but only gets to speak in a single didactic monologue, and the sexy doctor seems like he’ll be more important than he is.
The performances are engaging, including some capable singing and a little fun choreography – the original songs are simple and effective jazz style pieces that work in the context of the show. The set and costume design are minimal and cleverly done.
Overall, the Egg Rumour feels like the first draft of a piece that could be a more complex exploration of women in the corporate environment – worth a look but not groundbreaking.
Devised and performed by Connie Wookey
Connie Wookey (yes that is her real name) is a charming and talented performer who has composed a fun 45 minute show about some distressing topics.
Essentially a light comedy cabaret about things in life we can’t control, “Denied Under Section 221(g) of the Immigration and Nationality Act” touches on sexual harassment, malfunctioning planes and being an actress in New York, though doesn’t go into revelatory depth on any of these topics. Everything is dealt with simply, with a refreshing directness.
Some of Wookey’s songs and stories are touching, others feel a little like narrow casting – not all audiences are going to be able to identify or empathise with jokes about the vagaries of working as an actor or being middle class.
It’s an enjoyable show: a pleasant night out with an appealing host in Wookey.
Music, Production by Stephen Hyde
Book, Lyrics by Leoe Mercer
Directed by Sam Ward
16 June – 7 July
GUY is a fun, fresh musical about friendship, love and Grindr. The music was slick, catchy computer pop – think SOPHIE and Sam Smith – and the lyrics were packed with word play and nerd references. It’s a minimalist show, with four actors, an almost empty set and a pre-recorded score but it does so much with this. Each actor displayed a polished, engaging performance – singing, dancing, deploying excellent comedic timing and dramatic chops. I couldn’t identify a stand out performer, since all four were strong talents who were a joy to watch.
It speaks to the the paucity of media by and for queer people, but it was relieving to see a story with no straight people in it. It’s not a story about homophobia or coming out or finding your identity, or even AIDS – all worthy stories to be sure, but it’s nice to see what’s essentially a gay rom-com. Which is not to say the story takes place in a queer utopia – Grindr, the story’s framing device, is famous for distilling racism, sexism and body dismorphia into the callous dismissal: “No fats, no femmes, no asians”. All these issues are identified and addressed in the show – there are shades of Cyrano De Bergerac in that so many characters feel they have to hide themselves from those they love due to perceived prejudice.
The show has the breezy positivity you want from a musical about falling in love, and the exceptional cast keep you engaged throughout an hour and a half run with very little lag. I recommend this show.
Written and directed by Hannah Samuels
Devised by the company
11 June – 7 July
Kiss Chase is an interesting piece of interactive devised theatre which combines short monologues and audience participation to present varied and unique perspectives on romance and relationships.
At first glance, the theatre seems like it’s set up for an ice breaking, team building activity that corporate insists will be good for sales. It’s like speed dating, but less fraught by sexual tension. Audience are given numbered labels which correspond to a clip board that waits for them on a chair. Everyone starts the night with a partner, though we’re warned that we’ll be swapping throughout – the point is not to find true love, but just connection. There’s an emphasis, as the show progresses, on secrets: what kind are kept, and for what reasons.
Our “hosts” Ben and Ruth (well played by Topher Collins and Rayyah McCaul) are warm, if a little tense, and talk us through a series of activities designed to get you to spill your guts. There’s some kind of undercurrent between them throughout the show – not exactly romance, but something they need to talk about. Some of the guests are also playing roles – spotlighted and speaking their thoughts to the whole audience. Each of the actors were talented in their moment, and I expect fairly good at improvisation – one of my partners from early in the show turned out later to be a character, which made our conversation about our jobs both weird and impressive. Some audience members volunteered to share their own thoughts on relationships, and I would have enjoyed if this happened a little more. The show would benefit if there was more time and encouragement, because all the actual audience participation was fascinating.
There’s no particular plot or resolution to the show, which accurately reflects the real world – brief connections, half glimpsed secrets, unanswered questions.
It was an interesting, creative and fun show that felt at times a little underdeveloped.