ADRIENNE TRUSCOTT's ASKING FOR IT
05/05/2015 - 09/05/2015
25/04/2015 - 02/05/2015
Laughing Stock Productions
Adrienne Truscott’s Asking For It
A One-Lady Rape About Comedy Starring Her Pussy and Little Else
The Edinburgh season of Asking For It left critics and audiences alike reeling. With commentary from George Carlin, Louis C. K. and Robert De Niro, she takes on polka-dots, pussy-puppets, mini-skirts, rape whistles, Daniel Tosh, Rick Ross and enough gin and tonics and bad behavior to get a girl in trouble.
Heavy at its core, this piece is light on its feet and easy on the eye and Adrienne plans to make jokes about rape, all night long, even if you tell her to stop.
If her behavior suggests that she’s ‘asking for it’ then common folly dictates that we already know the ‘finale’ to this show. Confronting the audience with this possible arc, she mixes stand-up, video, nudity and some whimsical dance while undoing and doing in the rules and rhetoric about rape, comedy and the brilliant, awful (or awkward) laughs when the two collide.
Adrienne Truscott is a choreographer, circus acrobat, dancer, writer and as of late, comedian. She has been making genre-straddling work in New York City and abroad for over 15 years and has performed at the Brisbane Festival, Edinburgh, Adelaide, Melbourne Comedy, Brighton and Perth Fringe Festivals, as well as the Sydney Opera House, and many other iconic venues. She has worked with cult cabaret legends Kiki and Herb, Meow Meow, and John Cameron Mitchell (Shortbus).
In the Wau Wau Sisters, she has thrilled Australian audiences at Le Clique and La Soiree and their own genre-defining evening-length shows for the past few years. Asking For It is an extraordinary next step.
“An exhilarating hour… firecracker wit, sophistication and luminous humanity” – The Guardian (UK)
“A brilliantly bold and thoroughly engaging provocation” – The Times (UK)
“Brutal, brilliant & brave… This is without doubt the most powerful hour of comedy” – Scotsman (UK)
“If you missed this show then you missed the Fringe” – The Skinny (UK)
★★★★★ The Skinny
★★★★★ Three Weeks
★★★★★ Time Out
★★★★ Broadway Baby
★★★★ The List
★★★★ The Times
★★★★ The Scotsman
★★★★ Rip It Up
★★★★ The Age
Sat 25 April, Tue 28 April – Sat 2 May, 10pm
Tickets: Tue, Wed, Thur Adults $28.00 Conc. $24.00 Fri, Sat Adults $32.00* service fees may apply
Bookings: 0505 iTicket (484 253)
Tue 5 – Sat 9 May, 8.30pm
Tue, Wed, Thur Adults $28.00 Conc. $24.00 Fri, Sat Adults $32.00* service fees may apply
Bookings: 0800 TICKETEK (842 538)
Theatre , Comedy ,
Funny and knife-edge subversive
Review by Lena Fransham 06th May 2015
‘I’m not into gimmicks’, quips Adrienne Truscott, having spent the first quarter of the show naked from the waist down. The nakedness is at first confronting, but becomes somehow a helpful mitigation of the riskiness of the material. The breaking of the public nakedness taboo, after the initial shock, shoves us into a realm of uncertainty. Leave your comfort zone at the door. This is a loud, opinionated nearly-naked woman who is not reassuringly packaged into a pornographic caricature – anything could happen!
She’s been doing this show internationally for some time. Her initially too-polished stage patter is a little hard to warm to at first, and although she’s sparking from the get-go, the chemistry doesn’t really start to happen until a little while in.
The nakedness is half-absurd, half awkward as hell, and gets more so when she approaches male members of the audience to engage them in allegorical role plays about consent. The reluctance of one man, when under pressure to play along, amply illustrates one of her points, and while she appears respectful it seems in making this point with him she may be unfairly crossing a line. I don’t know how I would have felt in his position.
Truscott acknowledges that she may get too offensive for some of us, and encourages us to ‘blow the rape whistle’ if she goes too far. The politics of the rape whistle itself, of course, is also in for some pithy interrogationin the course of the show.
Once we’re all acquainted, she hits her strides big time. With allegory, gender reversal, the odd jaw-dropping iconoclasm and outrageously silly innovations with AV projections, she mocks, parodies and dismantles the usual old assumptions on consent, various modes of victim blame and some of the more ridiculous debates issuing from public figures – like Todd Akin on ‘legitimate rape’.
Addressing a number of comedians who seem to be resorting to rape jokes these days, she walks subversively into the midst of the comedic discourse to explore what they find so funny, but in taking them on she is unexpectedly warm and human about it. In the playfully teasing tone of a big sister, she slyly exploits the breach, meeting the ‘rape joke’ (a la Daniel Tosh) on its own terms in a hilarious but annihilating rhetorical smackdown.
I don’t think I’ve seen comedy this gutsy. Funny and knife-edge subversive.
Copyright © belongs to the reviewer