Edinburgh Fringe: Gush / Attachment: The Leech Show / Self Raising
There is usually a moment in a Fringe show, often after the first few minutes, when you start to relax. You are sure that you have a grip on it; all fear about making sense of things disappears.
It’s not so in Abby Vicky-Russell’s knotty but moving Gush, a photo of Prince Andrew looms Stage right. Pre-show, – a pulsing soundtrack loops: GUSH – GUSH GUSH – GUSH GUSH.
Then, a figure in a charcoal fluffy body suit and pink bob wig appears. Finally, I thought: showbiz!
Then it all stops.
Vicky-Russell re-enters playing Neil, a plumber from Yorkshire, who has been sent in to fix a leak on the set of the show that we are watching. Her physical comedy is top notch.
Elsewhere, the resulting part stand up routine, part confessional play within a play gives the character Neil a mundane shimmer, and there are overtones of Victoria Wood in an expertly plotted visual gag involving a quiche and loads of table salt. Chaos.
But, if anything, that overture understates the level of theatre sorcery going on here: Behind all this nonsense, a real-life, gruesomely compelling story emerges through a confessional monologue about abuse and father-daughter pain.
In any case, Gush, at Assembly packs some emotional punches and is an astonishingly unguarded piece – with a lot of potential – about the cruelties of abuse.
Elsewhere, at Greenside I caught Attachment: The Leech Show – it’s ostensibly a slapstick piece about influential critic, Bob the Leech.
But only a very few of the gags get their laughs-and when slapstick goes flat, the effect is clunky.
This young company turn the stage into a zestful playground and give it all they have got, though the running gag makes it hard to conjure suspense – are critics really frustrated artists who never like anything?
Yet in the final few minutes when Bob dies, the company come to the realisation that critics are just as vital to the industry as the artists that they observe.
This timely show strikes me as an enduring cult hit in the making.
Thirteen shows are deaf-led at Fringe this year, and one of those is Jenny Sealey’s lovely Self-Raising at Pleasance Dome.
“Secrets are easier to tell strangers. I work in theatre, that’s what we do.”
Well, quite.
This is an autobiographical play from disability-led company Graeae – alongside her “terp” (sign-language interpreter) where three generations of the Sealey family are unpacked.
Sealey set out to adapt Anne Fine’s book Flour Babies before real life took hold and she changed course. Opportunity and social mobility are underlying themes.
The narration is accompanied by captions, sign language and audio description, along with family pictures, video and voiceovers from Sealey’s son, Jonah.
This show is beautifully put together, from the cunningly simple design by Anisha Field where three cupboards neatly double as the family kitchen and a darkroom and where family photos – and secrets are developed, to the simple lighting design by Emma Chapman.
There is almost too much here to be squeezed into the brief running time, but director Lee Lyford keeps things motoring.
Sealey and her co-writer Mike Kenny have delivered a charming story that is funny, graceful and fully accessible. Alas, it’s the subject rather than the staging that moves the emotions.
