
Review: GUSH, VAULT Festival
A modest comedy that turns into a rousing plea.
We all know a Neil. Dad jokes, dad dance moves, typical flip phone case, a heart of gold. A plumber who never leaves his house without his toolbox, he was having a pint with his missus during their city break all the way from Sheffield when he was called out to fix a leak so that a feminist performance could go on.
Baffled but non-judgemental at the thumping music that welcomes him and low-key startled by the harrowing voiceover that's randomly rehearsed, he starts to fix the ceiling. Abby Vicky-Russell introduces a reserved, funny old lad who scowls and mumbles at first but then jumps at the chance to make people laugh like he does at his local pub.
Gush is an unassuming comedy with big stand-up vibes until its real nature is revealed. The show takes an abrupt u-turn right before the end, unveiling the writer's plea. Will Armstrong directs with explosive energy, leaning into the initial weakness of the narrative and the jarring juxtaposition between Neil's cheeriness and the dramatic sound design.
His "wacky stories" and a stint at the karaoke entertain the audience, muddling the aim of the piece perfectly. Vicky-Russell's sleight of hand transforms it into a play worthy of its trigger warnings. It's a drastic tonal change that shifts the atmosphere with a smoothly handled transition.
In a flash, she highlights the importance of destigmatising sexual violence. "Silence implies shame" she says, retelling how in the aftermath of her assault her father would shower her with love but never address what happened to her. The plumber still won't put it into words, in the production as in real life. She urges the family and friends of victims to speak about trauma with honesty and support to help them regain control and recover.
Gush turns out to be exceptionally stirring.
Gush runs at VAULT Festival until 12 March.
VAULT Festival has been left without a venue for next year. You can contribute to the #SaveVAULT campaign here.
From This Author - Cindy Marcolina
Italian export. Member of the Critics' Circle (Drama). Also a script reader and huge supporter of new work. Twitter: @Cindy_Marcolina
... (read more about this author)
March 29, 2023
Set on a housing estate in South London, the piece sees two brothers being sent out to the shops by their mother. Yemi was born and raised in England while Ikudayisi has just moved from Nigeria. The cultural clash is striking and, while the text has been slightly modernised with coups like the addition of face masks, 15 years are a long time and the racial discourse has somewhat become more sophisticated since then.

March 26, 2023
Jordan Harrison’s 2015 Pulitzer Prize finalist is a reflection on mortality that doesn’t dare to go into the depths of the matter. It ends up being rather stagnant philosophically and anthropologically, but Dominic Dromgoole’s latest production is a delicate take. Running at 85 minutes on paper but around 70 in reality, the piece’s greatly sophisticated performances and sleek look save it from its redundant nature.

March 25, 2023
Running at around 50 minutes, it’s snappy and positively Gen-Z in pace and subject. Fernandes crafts a script that wanders from deliciously colloquial to slightly expository, but remains solid throughout.

March 19, 2023
While the writing is gripping and Gabrielle Nellis-Pain’s performance is excellent, there’s something missing. Catherine’s colleagues are ancient ghosts through the hallowed corridors as she puts on a sleazy, raspy voice to portray them against her well-spoken main character.

March 19, 2023
You are going to die. It’s a certainty, but it’s also the title of the latest play by This is Not Culturally Significant writer Adam Scott-Rowley. Performed entirely naked, You Are Going To Die is a show about everything and nothing. You can read as much or as little as you wish in it. What does it deal with? We’d love to know - we came out of it with more questions than answers. It feels like a social experiment or an impenetrable piece of performance art. It might just be simply throwing stuff at a wall to see what sticks.