Gwyneth Paltrow Turtleneck. An “Alarming Slip of a Woman”. Tim. These are just some of the good things about Michelle Brasier’s new show, at The Kingfisher in Gluttony. You might be wondering why I start the review with a sequence of nonsense non-sequiturs that tell you, the reader, nothing about the performance and seem more like in jokes for anyone who has been to the two, and only two, performances of this piece.
Well you’ll have to go along to find out won’t you.
Having been a long time follower of Michelle as an artist and comic, I’ve gotten to the point where I really don’t know what I’m going to get when I sit down for one of her shows. Average Bear is part haunting cabaret about the prospect of losing your loved ones early and the constant fear of dying, Reformed is the weaved tale of one really sh**ty Adelaidaidan, pilates, and Michelle’s personal experiences during the Pandemic, Comedians with Ben Russel is a deeply triggering drama school flashback – It’s a Shame feels the most “stand up” centric of a very interesting oeuvre.
Her work is never NOT funny, this I always stress – Michelle is far and away one of Australia’s most talented comedians; but this show in particular feels like the final piece of a trilogy. Michelle has written a stand up show, so she can laugh and we can laugh with her. Her manic energy is apparent from before the opening, as she personally stands by the opening of the tent, welcoming everyone in with a personalised compliment (I LOVE a tucked polo shirt) , before running half into the wing and introducing herself. She bounces with an infectious energy from bit to song to bit again. She is also clear with the audience that this really is the second time anyone has seen the show, and she’s still working through things; the multiple pieces of paper strewn across the stage, prompting Michelle as to a semblance of direction don’t affect the weight of the performance.
Finally, I wouldn’t want you to get the impression that Michelle is all laughs, no tears; that just isn’t her way. There are at least two songs that made audience members around me cry throughout the hour, which juxtaposed with Michelle screaming about misogynistic bed bugs is a testament to her work as an artist. She so skillfully weaves her heart wrenching odes to lost friends and mentors into the work you never realise you started crying.
Tim is brilliant as always, even when he is less guitar player and more “Michelle Time Wrangler”.
Two thumbs up. Don’t listen to your university drama lecturers. My email is available upon request.