Bitch is a one woman show on a story of finding oneself, of conforming to the norm and this leading to sexual assault. In this production Marty Breen plays multiple roles, showing the sides from all parties in quick change, punctuating it with original music in order to tell a story. 

If you were heavily on Tik Tok (and, embarrassingly I was) during the covid years, it was discovered that certain colours will appear in different coloured lighting. Breen uses this to their advantage, to keep this cabaret club aesthetic but to be able to change characters; by using this theory of colour between their make up and the studio lights, and the addition of key character costume items, they change from male to female (creating a beard and soon being able to transition to female with feminine make up styles) in a quick succession. With this, we are told the story from both sides, with almost stereotypical characters; the man is a stand up comic, and one that is infuriating and Breen approaches this is a sufficiently misogynist way, with commentary that women often hear from cis males on their looks and how they approach life. The female is more complex and within this, as well as the sexual assault, goes on a  journey of discovery and themselves. We actively see them change in persona pre and after the assault, and post assault, isn’t pretty. It takes a dark and uncomfortable approach, not the usual approach of playing the pitied victim but actively noting the imperfectness that can come of trauma. 

Breen peppers this with playing the piano and singing their own compositions to bring the piece together. There’s a TIm Minchin meets Sara Bareillas aesthetic to this, but becomes more complex and breaks down to reflect the story. They are moving, beautifully written and show clear talent in not only creation but performance. 

While this was all an intriguing and interesting approach to a story on sexual assault and identity, particularly with making us not feel completely sorry for the main female due to their trauma and showing another reality of trauma effects, it felt very one noted. The switching between the two characters started as a novelty, but we soon realised that this was the whole pattern and it needed something more to break up the monotony. 

Bitch is a clever and interesting production but sadly falls short in keeping our attention when the narrative sticks to one level throughout.

(4 / 5)

From the creator of Steve Porters (lock up your daughters), comes the shift-shaping, comic drag king that is Daisy Doris May. May this time brings their 3 iconic characters into one Big Night Out. What ensues is chaos, comedy and a whole lot of fun.

Daisy Doris May: Big Night Out creates a linear story-line, featuring their three main characters, who tie together (loosely) in a club. We are instantly part of the action, with Hans Off, the first character, entering the back, through the cabaret seating, setting the scene of a Berghain, cool, exclusive club queue where we are based. Audience participation is a must, and interactions early on form the basis of many plot points throughout the entire night.

Hans is cool, chic, pulling on the cool aesthetic that Berlin has in its queer and electronic communities, and we are quickly made fun of, lovably, for not being this way. The costumes and drag is on point, and the breaking into dancing and lip syncing drives up huge cheering and dancing.

When Hans enters the club, they bump into someone whose “hair cut scares” them, and out comes our next character, in a almost Olympic change of costume. Karen Moonstone is a caricature of both “Karen” culture, where she complains and gives 1 stars for everything and the hippy, yoga community. The blend of these are so opposite but they make it work which only continues to elevate and increase the actual belly laughs. Audience interaction it also increased, and the novelty and improvisation from the audience only adds to the comedic delivery. May has moments of being caught off guard, but, that’s not a criticism. They recover quickly and add this into their performance with ease, continuing to add to the hilarity.

And finally, Steve Porters, our sad love expert joins us, as we begin the stag do. Steve Porters comes from May’s previous shows and therefore has a cult following. Shouting of phrases known from this character are bellowed out, with more audience participation that reaches a peak in the fantastic; a flamboyant “groom” who almost could upstage May, they harness these moments to only continue to create such a fun and mad show.

Daisy Doris May: Big Night Out, is what it says on the tin – a Big and hilarious Night Out. Expect to be a huge part of the fun, but don’t be mad, because it is so enjoyable, you will soon become a convert to audience participation.

(5 / 5)

Well, back here we go, on the groupie train. Solo performer, Christian Dart, one part of the trio that is Bad Clowns Comedy, is back at the Fringe again, with his second solo show. And at this point, we’re all going to have to queue for autographs.

Unlike his first solo performance, which focused on the real Dart, this time around he has returned to his roots of character acting, bringing us a film noir in only a way he can. A New York detective has one final case to solve, but is he able to? Drawing on the stereotyped film noir characters, throwing in various comedic styles and involving the audience to develop the outcome, we are thrown into a energetic, sweaty and belly-laughable hour of a production.

While the theme may suggest an obvious story-line, we are none the wiser of where this will go. Partly driven by us the audience, whether intentional or just a lucky case of improvisation and partly well scripted, this whodunnit continues to deliver the guessing game and conclusion that no one sees coming. Dart at no point is safe, with a rambunctious audience hell bent on making this as chaotic and as mad as possible, which, let’s be honest, he almost asks for in his narrative and delivery being just as equally insane. But, as the true comedic performer he is, he rolls with the punches and uses it to create humorous moments that could not have been predicted.

Dart continually breaks the fourth wall, pointing fun at himself and the situation we are in – a hot room at fringe, a hat that has to be split to be able to fit, a moment an audience member almost shuts down the power to the building with a water gun, and his talent with this only builds and builds on the foundations of side splitting he has already created.

Christian Dart: Gumshoe! is one hour of clever madness, leaving your stomach muscles and cheeks sore from laughter and knowing that he is likely the next big thing.