(5 / 5)

Disclaimer before we begin: the star rating is in no way impacted by the fact I myself ended up being pulled up to “perform” in this show. If it was, it would certainly be at a 0!

Bouffon has to be one of my favourite theatre genres. If you’re unaware of what this is, this is “clowning” but more about the taboo side of society. The aim is to highlight themes, ideas, topics and be highly satirical about this. What I love is there seems to be more of this at fringe this year, and that can only be a great thing.

CVNT, with its highly coded title (not really) is all about empowerment, of taking back the reins of your life, yet still knowing that you aren’t a perfect person, as well as the taboo around female menstruation and female anatomy. A topic that even in 2025 there is a struggle and a taboo around discussing openly.

Sophie Power immediately enters the stage after creating slow anticipation; singing slowly “Don’t you want me baby” as she plays with the nearest audience from behind a curtain, she begins to add a level of fear and nervousness amongst us. Revealing herself, in true bouffon form, she is dressed head to toe in shades of red and pink tulle, silky gloves with sharp nails (reminiscent of HIM from the Powerpuff Girls) with only her face on display that contorts and plays with us. This is somehow threatening but also inviting and creates much confusion.

Audience participation is at its top in this – we laugh, we are shocked, we are surprised, we are confused all in unison but somehow, Power creates a really powerful union within us. We root for each other but also laugh. Some participation is vulnerability and taking that power back, some is an anatomy lesson, some are “party games” and, in my case, the chance to blow the dust off my own bouffon days (and poorly may I add!). But for once, no one is reluctant. Despite this foreboding figure, we trust them and this helps in luring us into the hilarious, the shocking, the taboo and we accept that fully.

CVNT is a stroke of absolute genius in bouffon/clowning but isn’t for the faint hearted or the meek. Prepare to be fully thrown into the obscene, the madness, the chaotic but laugh so unbelievably hard for the entire thing.

(3 / 5)

Think highly British, camp, Miss Congeniality style show case and you get Miss Brexit.

Maria Who? have approached the vote to leave in play form, bringing the liberal view point (well placed in an arts festival) to the forefront, by using comedy and good old fashioned British take-the-mick humour. We, as active participants, join the performers to decide the winner of the contestants to be allowed to stay in the country. We meet four contestants from varying countries, as they try to assimilate in contest-style scenes to British customs, tell us their tales of why they came to the UK and their experiences, and based on this, we make the tough decision who to stay and who to deport. 

Miss Brexit is highly satirical, with contests such as answering genuine questions on the citizenship test which are hard even for a born and bred British person. They provide sarcastic views on British stereotypes such as pouring tea correctly and we are forced to not only agree with how ridiculous the situation is but also how ridiculous we are as a country. 

Our compere is full of energy, quick off the mark with great improv skills and provides much comedy in their performance. Our contestants are notably performantive (think pageant performer style) but at times this feels too hammed up and a bit over the top though their improv skills with us audience members is top notch. 

The narratives are very clever and do well to evoke emotion and complicated feelings, whether it be a positive or a negative story. But they also show varying degrees and moments of resonation; moving to London alone, not only for those who come outside the UK but inside as well is easy to recognise, with the high rental rate and probability of moving in with 5 others to keep the rent down. 

Accompanying the show is awesome background music, giving an impression of Rupaul’s drag race meets Miss Congeniality, changing to fit the character and story of the time, evoking a feeling of their culture. The screen behind helps set scenes, with boarding cards when deported to the logo of the contest. 

Miss Brexit is a unique and interesting take on political and social commentary but felt some distance from a higher starred production.

(3 / 5)

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.