Edinburgh 2024 Review: PLEWDS, Summerhall

“Being queer is the best, right?” In Kathrine Payne’s debut solo show plewds, all is not as it seems.  Gradually, the show’s sparkly pink facade begins to splinter and crack, and a darker truth makes its way to the surface. Told through character comedy, clowning, audience interaction, and movement, this is a feat of queer theatre. 

While an hour-long therapy appointment ticks away, our protagonist whips through a series of characters and costumes, from a clueless detective to a chain-smoking French film director. Truth and identity become slippery, all in an attempt to understand what happened on the fateful night of August 16th. As the personas become more frantic, more unhinged, more desperate, the pretence fades away and the real story comes into focus. 

Payne is a masterful performer, whirling across the room with energy and charm while also showcasing an undercurrent of slippery unease. They move with a slick, playful stage presence, always entertaining. This is additionally thanks to Jess Haygarth’s direction and Wet Mess’ movement work. Payne has assembled a team of some of the most exciting brains in queer theatremaking, with the crew also including the likes of Emily Aboud and Frankie Thompson. 

plewds is also skillfully packed with queer references, from The X Factor, to I Kissed A Girl, to Chappell Roan and Lady Gaga.  The story is entrenched in pop culture without becoming twee, instead weaving its theme of lesbian identity into the fabric of the show itself. It's exciting to see a show so wholeheartedly lesbian. Stretching and challenging the concept of ‘queer theatre’ as a genre, plewds asks why we expect LGBTQ+ stories to focus on coming out and trauma. 

Formally precise, it’s clear this is a show that has been intricately constructed. Recurring characters, motifs, and jokes weave their way through the piece until it all falls into place. Payne has achieved an impressive marriage of form and content, using clowning and character comedy to examine the stories we tell ourselves about abusive relationships. Not only this, but the show’s pink, queer aesthetic takes on a sinister edge as Payne explores our warped perception of abuse in queer relationships. plewds walks the line between fun and uncomfortable, with a building anxiety permeating the chaos. 

But while it may seem messy and chaotic on the surface, it’s clear that every element of plewds has been meticulously crafted. Clever audience participation breaks down the barrier between performer and spectator, as well as unpacking how we perceive abuse differently in queer and straight relationships.

plewds is exactly the kind of show one hopes to find at the Fringe: sharp and creative, tackling a serious topic with an eye for fun and innovation. Being queer isn't always the best, but this show might be. 

Image Credit: Alex Brenner 

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