Skip to main content

Camden Fringe Review: Grab 'Em By The Pussy at Fourth Monkey, London

While the very title of this crazy little show written by Caroline Buckley might suggest a lean toward our current infamous President of the USA and his nefarious deeds, it purely forms the title and except a now even more ironic reference or two to North Korea, it has no influence at all.

What Grab 'Em By The Pussy is actually is at times a rather sweet and at others a gloriously rude relationship (or lack of) comedy musical which sees Maisy (Alice Wolff-Whitehouse) in need of contact and willing to be handled or fondled, well, pretty much anywhere.

It's all at times rather dark and alarming and perhaps this kind of material could never possibly come from the pen of a male now with the female lean on the subject anyway. However, despite its very forcefulness of content, including what is pretty much a rape scene, it disturbs a viewer in how genuinely fun it all is. It leaves you with tinges of discomfort which are quickly somehow forgotten as we glide into some upbeat and crazily jolly song.

While perhaps Trump has influenced the title, you can't help but feel that possibly the whole package is a little influenced by the TV series Crazy Ex Girlfriend. If it isn't, it still feels much like watching a stage version of it with the exuberant larger than life, and quite brilliant performances from the cast. As one acting scene drifts incongruously into a singing one as musicals oft do, it all lays at 100% on the wacky meter. This is even before all the cast wheel in wearing "cat" suits to perform the title song of Grab ’Em By the Miaow.

The cast really is quite brilliant in this show, from the lead of Wolff-Whitehouse having an incredible look and stage presence to hold the show together with a slickness and effervescent nature. Her two friends of Jackie and Roxanne played by Grace Russell and Rachel Loughran are equally confident, creating a trio of "mates", less friendly with one another than it at first seems allowing it to form a likeable sparky relationship.

Adam Ralph Morsen has his main moment as the frankly horrible Roland the sexist and vulgar rap star, happy to do as the title suggests to his female fanes. He is great in the role and plays off well with the audience as well, being suitably offensive to us in equal measure. Finally is Alasdair Melrose as the awkward and shy Ian and seeker of Maisy's affections in the worst possible clumsy ways. He creates a stunningly rounded character in his scenes and perhaps the star of the show for me, and in his solo "man" song is truly brilliant showing a nice flair for singing (as his background suggests). In fact the rest of the cast are all perfectly adept in the singing numbers as much as the acting scenes making this a lovely little performed piece.

Director Bence Kalo and movement director Carissa Rickeard do great work creating a flowing piece and as a clunky scene change hater, I delighted in the repeated slow-motion piece performed by Wolff-Whitehouse to a brilliant snappy piece of music from Josh Wells. The set, while simple, proves effective in its transformation of scenes.

It really was great fun even if you might be unsure of the nature of the subject matter. Tough ideas well handled and never ridiculed to such an extent to be totally uncomfortable, it truly was a great piece of entertainment for an hour. Purrfect!
½

Performance reviewed: Wednesday 9th August at Fourth Monkey, London

Grab 'Em By The Pussy was performed during the Camden Fringe at Fourth Monkey between Wednesday 9th and Saturday 12th August. It heads to The York Theatre Royal on 23rd October for one night, details at https://www.yorktheatreroyal.co.uk/event/grab_em_by_the_pussy.php#.WZBldFGGOUk



Popular posts from this blog

Review of Breaking the Code at Royal & Derngate (Royal), Northampton

Breaking The Code , the opening play in the new Made in Northampton season at Royal & Derngate, is a surprisingly old and rarely seen play. Written in 1986 by Hugh Whitemore, it tells the story of legendary codebreaker Alan Turing, a man who, in the 1980s, when this play first appeared, was relatively unknown. The years since the origin of this play have been good for Turing, with his life's work finally getting the recognition it deserves, and also, very much what this play centres on, a recognition of the horrific life and end that Turing had as a result of dealing with the laws of the day. Breaking the Code has seen life before on the stage of the Royal, as back in 2003, Philip Franks took to the role of Turing in a very well-received production. So, what of this brand new version directed by the Royal & Derngate's artistic director Jesse Jones? Does it live up to Turing's legend? That is an unquestionable yes with no machines needed to crack the class behind thi...

Review of Rambert Dance in Peaky Blinders - The Redemption of Thomas Shelby at Royal & Derngate (Derngate), Northampton

The Rambert Dance Company is the oldest such company in Britain having first performed in 1926. However, despite this, this was my first encounter with the group in my ten years of theatre-going. Coupled with this, it was also my first encounter with Peaky Blinders , having never seen the show, and only knowing a few vague things about it. My companion for the evening however was very familiar with the show, allowing some background behind the show. It turns out though,  Rambert Dance in Peaky Blinders - The Redemption of Thomas Shelby needs a little more than a good bit of knowledge of the show, as despite this production having incredible style, there struggles to be a cohesive structure to the show and the storytelling. Much more than other dance shows as well. The first act does a whistle-stop tour of the first five seasons and while it is a feast on the eye, and on the ear, it gets extremely confusing at times. The second act is freestyle and drifts away from the stories tol...

Review of National Theatre Connections 2017 (16 Shows) at Royal & Derngate (Royal & Underground), Northampton

Alongside the University of Northampton BA Actors Flash Festival, the Connections festival at Royal & Derngate is now my joint favourite week of theatre each year. This is my fourth year at the festival and each time I have tried my very best (and succeeded) in seeing more and more of those on offer (four in 2014, ten in 2015 and twelve last year). This year I cracked sixteen shows, including the most interesting, a chance to see two of the plays by three different groups. I was able to see nine of this year's ten plays (a single nagging one, Musical Differences by Robin French was missing from the R&D line-up), and most I either enjoyed or finally understood their merits or reasons for inclusion. The writing of sixteen reviews is a little bit of an daunting prospect, however, I will do my best to review each of the plays and those I saw more than once, and pick around the comparisons. Extremism by Anders Lustgarten Performed by Bedford College Extremism was perfo...