Natalie Palamides' WEER is a bizarre, yet hilarious play that challenges what a one person play can look like, by taking on a unique and absurd duality. A comedic genius, (with the essence of a mad scientist), Palamides performs the entire 75-minute show as two characters, Mark and Christina, simultaneously. Palamides splits herself down the middle (left with long hair and make-up for Christina, and the right with short hair and drawn on facial hair for Mark), with matching outfits woven together. This, naturally, leads to endless possibilities and jokes that Palamides uses to propel this show.
Beneath the dual approach, the show focuses on a turbulent relationship, not unlike the dramatic romances that dominated the rom-coms in the early 90s, with considerably more chaos. Set on New Year's Eve, 1999, the show starts with the couple arguing and breaking things off, only for Christina to find herself in a car accident. Mark, in a desperate attempt to keep her alive and occupied, takes her (and the audience) down memory lane, visiting highlight moments from their relationship. The play then follows the two characters through their meeting in 1996, jumping between past and present, with hints of foreshadowing and parallelisms.
The play's greatest strength is the complexity and bafflingly brilliant results that arise from Palamides' decision to portray both characters alone. Palamides manages to make both characters believable through distinctive mannerisms, changing voice, tone, vocabulary, body language and perspective with split second changes, by quite literally merely turning to a side. Palamides' performance is so engaging, the audience almost immediately forget about the other character, and are drawn to whichever character is present.
However, the play's story is unfortunately weak at points, with a relationship that appears to be too toxic and even abusive at moments, for the audience to really root for the relationship to survive its many ordeals. Written to be portrayed with an exaggerated and extra dramatic flair, the character personalities and choices aren't necessarily always understandable, yet remain utterly entertaining nevertheless.
The play, despite all its wit and wonder, leans too heavily into explicit scenes, that take away the initial intelligence. Whilst this is amusing at times, the extended nudity (continuing with the duality of the characters with impressive commitment), it makes large portions of the play uncomfortable. The play also drags these scenes out, with some almost abusive moments, leaning to an uncomfortable murmurs amongst the audience.
Palamides invites audiences into this bizarre world that she's created, whether that's through the knowing winks at the audience at ironic and funnier dialogues, self-referential jabs with well written lines, or the occasional prop that is thrown into the crowd. A lucky audience member may even have the chance to catch Palamides rain-soaked dress, or half a bra depending on your seat. Audience members (particularly in the front row or the aisles), are thrust into the spotlight as additional characters.
The show makes great use of the small space, and creates a fully fledged world. Through brilliantly accumulated props, and well thought out skits, Palamides creates a theatrical rom-com environment. Complete with rain puddle splashes, to spilt coffee and traffic whilst running late to work, to car headlights and flying deer, and passionate kisses in the rain, the play keeps the audience enthralled and impressed throughout.
Natalie Palamides' WEER is an unbelievably brilliant comedic play that pushes boundaries, but occasionally too far. Delightfully ridiculous, and absurd in all the right ways, WEER is a fun evening at the theatre for anyone looking for a show like none other.
WEER is currently playing at the Soho Theatre until 30th November - for tickets and more information, you can follow the link here.
⭐️⭐️⭐️ (3*)
Gifted tickets in return for an honest review
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