BLIZZARD at the Soho Theatre
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βThe plot is both completely mad, and entirely believableβ
Emily Woofβs one woman show offers a truly unique view of the world, while still feeling universally observant.
The performer arrives on stage, mid anecdote. She tells a rambling, uncertain, but incredibly funny story. Itβs like youβve met her late into a drunken dinner party. Just as the audience are getting their heads around the naturalistic story style, the lights shift, pounding music plays and she is transformed through dance. Only for a beat. Then the story picks back up, as if uninterrupted. She is destabilising, charming and brilliant.
Dottyβs husband calls her Dotty. Dotty calls her husband Dotty. They love each other, have been βtogether foreverβ but they donβt truly understand each other. As their marriage is tested, husband Dotty must confront the meaning of his lifeβs work and wife Dotty goes on an adventure which has her questioning the essence of self and purpose.
Woofβs script is evocatively told and created. At times uproarious, at times heart-breaking. It is intricately crafted to be rich with symbolism and metaphor, but doesnβt lose the characterisation at its heart.
The plot is both completely mad, and entirely believable. It deals with the little lives of little people but unpicks their absurdity to create a strange and whimsical tapestry of a life.
Hamish McCollβs direction is inspired. The more natural and stammering Dotty is, the more wild and free the physical theatre becomes. Sian Williamsβ movement direction seamlessly blends with the hyper-realism of the monologue. The characters are all brought to life through studied and well executed physicalisation.
Itβs a captivating performance from Woof. The character is emotionally complex and poignant. She is trapped in a small world, with a vast and peculiar worldview. Woof brings her to life, and makes us love her.
Andrew Croftβs lighting design and Theo Foleyβs sound design brilliantly complement the shifts in the piece. There is no tonal imbalance, the stylistic transitions are seamless.
Ellie Wintorβs set is simple, but cleverly thought out to remain versatile. There is a beautiful moment with string, which I wonβt spoil, but will stay with me.
Blizzard, for me, what theatre does best. It is strange and free but within the confines of a brilliantly designed story world. It explores an unusual woman, who somehow feels very familiar. And itβs incredibly funny. It loses itself a little in the second half, and the energy lags a bit as the style shifts, but it is definitely worth seeing, for Woofβs performance alone.
BLIZZARD at the Soho Theatre
Reviewed on 9th May 2024
by Auriol Reddaway
Photography by Viktor Erik Emanuel
Previously reviewed at this venue:
BOYS ON THE VERGE OF TEARS | β β β β | April 2024
SPENCER JONES: MAKING FRIENDS | β β β β | April 2024
DONβT. MAKE. TEA. | β β β β β | March 2024
PUDDLES PITY PARTY | β β | March 2024
LUCY AND FRIENDS | β β β β β | February 2024
AMUSEMENTS | β β β β | February 2024
WISH YOU WERENβT HERE | β β β | February 2024
REPARATIONS | β β β | February 2024
SELF-RAISING | β β β β β | February 2024
FLIP! | β β β β | November 2023
BOY PARTS | β β β β | October 2023
BROWN BOYS SWIM | β β β Β½ | October 2023
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