In her solo performance exploring the aftermath of gentrification and austerity, Chakira Alin laments the surge of expensive small plate dishes in restaurants. This serves as a sharp metaphor for the housing market, where both spaces and prices are continually diminishing. At the heart of Alin’s narrative lies the “lost art” of the house party—symbolizing a generational financial crisis and a troubling breach in social unity. Many potential hosts feel they can’t afford to host gatherings either due to their fragile, overpriced rentals or because they’re loving their parents’ homes too much to risk damaging them.
Presented with vibrancy and authenticity on a cozy stage adorned with balloons, heart-shaped cushions, and a cocktail shaker, Alin is clearly at ease with her audience. She portrays Skip—an apt name for a show that centers on constant change—who was born and raised in gentrifying East London, still living with her mother. Skip loves Hackney, proudly sporting a T-shirt that declares her affection, yet she wonders how we’ve arrived at a place where simply growing old in one’s hometown feels like an impossible dream.
While tinged with bitterness, the show is largely uplifting, featuring some brilliant sequences: Skip fantasizes about “white-pillared Georgians” and other coveted residences; browses RightMove like it’s an adult website; discovers that the show Skins has misrepresented her reality; and compares house parties to vast oceans, while nightclubs feel akin to mere swimming pools.
While Edinburgh Fringe often showcases easy jokes about gentrification, Alin offers a heartfelt insider perspective that dives deeper into these familiar yet complex issues, hinting at a future emptiness as gentrifiers inevitably relocate. The performance sometimes dips into traditional stand-up humor with quips like, “What do they call French windows in France?” Yet, amidst the laughter, the looming threat of homelessness for both Skip and her mother remains a palpable concern.
Alin presents herself as an astute commentator—whether discussing why Miley Cyrus’s “We Can’t Stop” deserves a spot on every playlist or exploring the significance of house parties for the Windrush generation. It’s been two years since Skip graduated from drama school, and she articulates how her chosen field poses similar challenges, largely benefitting those from privileged backgrounds.
A subplot involving a friend who is homeless could be explored more deeply, as could some supporting characters. However, Alin displays a deft narrative style and radiates charisma throughout, delivering crucial revelations about dispossession in an entertaining manner.
Venue Details
- Performances at Pleasance Courtyard, Edinburgh until August 25
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