50% LIABILITY // The Emslie Effect

Stripped down to its bloodless essentials, life is- give or take- a series of disjointed happenings, comings together and comings unstuck. There are birth pangs, there are death pangs. Big deal. John Emslie’s 50% Liability is a play that has something to say about all these things, plus one of those other elemental, everyday components: luck. Particularly, exclusively, bad luck.

In all honesty, it’s a show that deals exclusively with accumulated bad luck. How it stacks up, adds together and hardens into all that you’ve got. The genetic bad luck of being born, in a ‘scrawny’ (and Emslie makes this go a long, long way) frame ripe for the horrors of adolescence and high school, ripe for the bitter comic irony of becoming a male stripper in 80s Aberdeen (‘quite a conservative place’) having to carve out a niche hovering on the borderline of mutual humiliation for both stripper and client. Of all the petty, excruciating layers of incomprehension between the generations.

There’s not much in the way of linear narrative. But, for Esmlie, that’s sort of the point. He presents his life as a series of fluid, semi-connected catastrophes, each one more seemingly inevitable than the last. A broken neck in a slapstick occurrence at work, a near-death dream trip to Alaska, the use of his claims money to finance the show itself. In a sense, it’s a play that deals with how misery breeds misery and accumulates, as if by stealth. It’s a play that deals, blithely, with causality, with self-pity. With how it can take a whole lifetime to scramble clear of unpropitious beginnings. How that might be an impossibility in the end.

And finally, it deals with a kind of gallows hope. That even now, after a more than a lifetime's worth of ‘bad luck’, there’s the creeping anxious hope that ‘things can only get better’.

- FG

50% Liability played at C Venues - https://tickets.edfringe.com/whats-on/50-liability-1

Exotic Dancers: Gender Differences In Societal Reaction, Subcultural Ties, and Conventional Support- http://www.albany.edu/scj/jcjpc/vol10is1/bernard.html

Naked Ambition: The Truth About Male Strippers- http://www.independent.co.uk/life-style/love-sex/sex-industry/naked-ambition-the-truth-about-male-strippers-7820919.html

Chance: A Key Role in Life- https://www.uky.edu/~eushe2/Pajares/ChanceCanPlayKeyRole.pdf

SPOONFACE STEINBURG // Top Right Theatre

Spoonface knows that people in operas die beautifully and she wants to die beautifully too. Diagnosed with autism, and later terminal cancer, the child walks along silver linings in this hour-long monologue. Tackling the difficulties of development disabilities and terminal illness, Spoonface’s optimism never falters, as the backing track of Puccini’s ‘O Mio Babbino Caro’ lulls us into a romantic view of death.

More than 1 in 100 people in the UK live with autism, and they often have difficulty communicating and reading emotions. Because of this, Spoonface’s language is simple. Linear trains of thought are very clearly laid out, in order to prevent the world from being overwhelming.

In the periphery of Spoonface’s monologue is recognition of the difficulty of caring for an autistic child and how that is part of the reason for her parents’ split. While the common claim that 80% of autism families divorce was found to be false in a recent study, having an autistic child without doubt puts extra pressure on a couple. David Mitchell writes about telling people his child’s diagnosis. ‘The replies come quickly but read awkwardly: condolences are inappropriate in the absence of a corpse, and there aren't any So Sorry Your Offspring Has Turned Out Autistic e-cards.’

Named after her unusually rotund face, Spoonface tells us about her short life. Lee Hall, most famous for Billy Elliot, wrote this monologue for radio in 1997 but here Sasha Brooks performs as Spoonface in pyjamas, radiating innocence and vulnerability. Though covering desperately sad topics, this monologue tries to be optimistic, picking up on the positive parts of this life dotted with misfortune. Spoonface values her individuality, saying, ‘to be different is to be who you are’. Mitchell, too, is sympathetic to this idea, noting that gradually you discover that each child with autism ‘possesses its own singular beauty, its own life-enriching experiences.’

- KW

Spoonface Steinburg played at theSpace @ Jury's Inn through August 27 - https://tickets.edfringe.com/whats-on/spoonface-steinberg

Information about autism http://www.autism.org.uk/about/what-is/asd.aspx##Prevalence

A review of the original radio play http://www.independent.co.uk/arts-entertainment/dont-be-afraid-of-spoonface-1165152.html

Autism spectrum disorder http://www.nhs.uk/conditions/autistic-spectrum-disorder/pages/introduction.aspx

Autism’s effect on a family http://www.aamft.org/members/familytherapyresources/articles/08_FTM_3_18_22.pdf

Divorce rates of parents with autistic children http://www.telegraph.co.uk/news/health/children/7926161/Parents-of-autistic-children-more-likely-to-divorce.html

David Mitchell: Learning to live with my son’s autism https://www.theguardian.com/society/2013/jun/29/david-mitchell-my-sons-autism