Edinburgh Fringe: Frankie Thompson and Liv Ello: Body Show / Woodhill / The Boy Out The City
From the sublime to the ridiculous: Frankie Thompson and Liv Ello: Body Show, rip up snippets of pop culture, lip-sync, clown around, and ultimately craft a rich interrogation of eating disorders and gender dysphoria.
It also happens to be an entertaining hour that is cool, funny, heartwarming and infectiously optimistic too.
Examining the power structures and political intrigue that have shaped man’s world, the duo deliver a dense, ambitious triumph that totally taps into the Barbenheimer zeitgeist.
There are snippets of pop music, flashes of apocalyptic explosions, TVs Come Dine With Me and Bake Off – with the pair miming expertly to the audio and visual segments.
It pincers the audience in a kind of keen, nervous imbalance—it holds our attention by throwing our incredulity at where we are as a society back in our faces.
“It’s great having a break from having a body,” they tell us.
This is a very artfully put together show. Don’t be misled by its bumbling, ditzy qualities.
At Summerhall, LUNG Theatre have created a lyrical and relentless piece of verbatim dance-theatre in Woodhill.
In June 2018, a prison report stated that, “staggeringly”, a total of 20 men had taken their lives in seven years at Woodhill, higher than at any other jail in England and Wales. Disturbingly, there have been more cases since.
Assembled from 70 interviews, Matt Woodhead’s visceral piece focuses on the deaths of three real prisoners deaths – Stephen Farrar, Chris Carpenter and Kevin Scarlett – in HMP Woodhill in Milton Keynes – and their families’ fight for justice.
One of the best things about Woodhead’s production is that it gets the details so right; not just in the relentless score with composition by Sami El-Enany, or Will Monk’s pulsing single lightbulb design, or the painful thump of the music and testimony, but in the way it interrogates so expertly the subject matter.
It is deeper, edgier, more emotionally dangerous than this groundbreaking company’s earlier work; script, design and lighting, soundtrack and choreography conjoin in one lethal embrace.
Up there with the very best of the Fringe shows that I saw, this is a terrifying and haunting 70 minutes; At times it’s like a hallucination looming out of the dark.
“We spent so long trying to keep the men safe from each other,” says one official voice, “we forgot to keep them safe from themselves.”
Powerful, essential theatre.
Declan Bennett’s rough and ready Boy Out The City at Underbelly, Cowgate, is directed efficiently by Nancy Sullivan.
This confessional piece is inspired by Bennett’s experiences of pandemic isolation in Oxfordshire. At the start he tells us. “This is about gay shame and loneliness, not Covid lockdown”.
Sullivan doesn’t always negotiate the switches in mood or the fact that Bennett throws too many back stories into the mix. But the story is never dull, and he is a relatable and compelling storyteller.
It’s a simple setup, but one freighted with complexities. There’s also flourishes of some genuinely great writing here: “You bring a bit of culture into the village,” locals tell him, “but we think they mean homosexuals.” It is the kind of place “where butter forgets to melt out of the fridge”.
Later, Autumn hits “like discarded brown corduroy”.
Just lovely.
His comic timing is also spot-on, and if the reminders of the storytelling veers dangerously close to being self indulgent, overall, it also feels raw and truthful.
Bennett is quite clearly a man who has learned, sometimes the hard way, that you don’t have to put on a performance all the time.
Frankie Thompson and Liv Ello: Body Show runs at Pleasance Courtyard, Edinburgh, until 27 August
Woodhill runs at Summerhall, Edinburgh, until 27 August, then Shoreditch Town Hall, London, 20 September-7 October and North Wall Arts Centre, Oxford, 19–20 October.
Boy Out The City runs at Underbelly, Cowgate until 27 August.
