BRA TREK
11/03/2018 - 14/03/2018
BATS Theatre, Studio, 1 Kent Tce, Wellington
18/03/2018 - 21/03/2018
NZ Fringe Festival 2018 [reviewing supported by WCC]
Production Details
When the world flattens our dreams, and tells us we don’t measure up, it’s time to fight back, bust out and boldly go!
“A class above most other stand-up comedians, funny yet profound – a great entertainer not to be missed” The Dominion Post
As babies we’re presented with the tourist guide to life – fairy tales, myths and ancient advice – which all spell Be Scared! Be Confused! Be Controlled! It takes a Charmian to undo this and lead you to a place of greater happiness and your place among the stars.
‘A joy!’ (Scotsman); ‘Funny poignant profound’ (NZ TheatreView); ‘4 stars!’ (Funny Women ).
DUNEDIN FRINGE 2018
Dates/times Sun 11 March, Mon 12 March, Tues 13 March, Wed 14 March, 8pm
Ticket price range $16-$18
Booking details http://www.dunedinfringe.nz/
NZ FESTIVAL 2018
Charmian visited New Zealand and The New Zealand Fringe for the first time in 2017 and after a great time at BATS can’t wait to be back.
BATS Theatre, The Studio
18 – 21 March at 9:30pm
Full Price $18 | Concession Price $14
Fringe Addict Cardholder $13
BOOK TICKETS
Accessibility
*Access to The Studio is via stairs, so please contact the BATS Box Office at least 24 hours in advance if you have accessibility requirements so that appropriate arrangements can be made. Read more about accessibility at BATS.
Theatre , Comedy ,
1 hour
Richly personal
Review by Margaret Austin 19th Mar 2018
It’s a catchy title and we hope it’ll be a catchy show. At Bats Studio, buxom UK performer Charmian Hughes, in a shimmering gold gown, sets us up for body-based observations grounded in a search for a bra that fits.
One of hers evidently set off the security alarm at an airport. This good natured anecdote suggests others to follow.
She takes us on a narrative remembering of her school girl life – “an overturned supermarket trolley of stories” – in the company of three fellow pupils. She needs to ask “the girl who knew” where the toilets are, and “the girl who knew” where babies come from.
Audience members are clearly prepared to sympathise, and readily throw back on cue the orange flowers she’s supplied them with earlier.
An intriguing take on the Cinderella story leads to a brief rumination on shoes. The segue from underwear to footwear is nicely signalled by mention of the size range 32 to 40. But this somewhat body-obsessed monologue verges on the tasteless when our performer tells us that her mother, on observing the growth of her daughter’s bosom, says: “I hope you’re not turning working class.” Now that’s a comment that could only be made by someone from England with its insulting class structure.
Hughes has the challenge of turning personal material into an entertaining performance. It can’t be just a ramble. Not only rich content is required, but a structure that’s not necessarily discernible but maintains momentum. A lack of momentum towards the end of the piece somewhat slows down Hughes’ delivery and its effectiveness.
Flowers are not all she tosses to her audience. But to find out what’s in the bag, you’ll have to see the show.
Copyright © in the review belongs to the reviewer
Comments
Editor March 21st, 2018
Given the title and content I think it is valid.
Maria WILLIAMS March 21st, 2018
Need we refer to her as "Buxom" ?