Full Frontal Theatre, a female-led company dedicated to combating misogyny, presents a powerful critique in Sadie Pearson’s play. The standout moments occur when actress Merida Beasley breaks through the predominantly male narrative to share visceral, impassioned stories about violence against women.
Her characterization as simply “Woman” isn’t a mistake—it’s a pointed commentary on her lack of visibility. To the hate-driven comedian Rodney Black (played by Ben Willows), she could be anyone; her identity doesn’t matter, whether she’s a fleeting one-night stand or a clerical worker.
Women like her bear the brunt of Black’s incendiary rants. He and his agent, Bertie Taylor-Smith, believe his material is edgy and boundary-pushing, framed as an artistic exploration of freedom. In reality, however, his act serves as a dangerous incitement to violence. The stakes become painfully clear when a male fan, inspired by Black’s rhetoric, commits murder, leaving Black’s career teetering on the edge.
Pearson skillfully connects the dots between male humor and female safety, illustrating that Black’s jokes are not just idle musings; they have tangible effects in the real world.
Though these themes are heavy and need to be handled with care, Hen Ryan’s direction sometimes lacks clarity. Black, despite his outdated habit of hand-writing letters to fans, comes off as purely loathsome rather than complex. With no charm or wit to redeem him, he only spews venom. His agent is even more brash in his relentless pursuit of success.
Compared to the multitude of real-life comedians who cater to the lowest common denominator, Black falls short in delivering anything but offense—turning a well-intentioned play into a reflection of the very issues it aims to address.
Where to See It:
At Gilded Balloon Patter House, Edinburgh until August 25, then at Arcola Theatre, London from September 3-5.
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