RACHEL FAIRBURN: SHOWGIRL - REVIEW - THE OPERA HOUSE, MANCHESTER

Rachel Fairburn: Showgirl is a fun piece of theatre which ticks all the stand-up comedy boxes, but the show’s impact is limited by cohesion and commitment issues.

Showgirl is written and performed by Rachel Fairburn, with Tom Lawrinson as the supporting act. Fairburn has six critically acclaimed solo shows and is a regular on the UK stand-up circuit. She is also the co-host and co-writer of the popular podcast All Killa No Filla. Premiering in Fairburn’s hometown of Manchester, Showgirl will tour more than 30 towns and cities from the 9th of September until the 26th of November.

Showgirl covers topics such as post-covid socialisation, mental health, working-class vs. middle-class, sexism, bullying, bad manners, true crime, and air-fryers. The routines are brilliant but detached from the central idea of being a showgirl, which weakens their collective impact.

The supporting act and main act do not blend well. Acknowledging that the artists have different comedic styles (there is something for everyone in this show), they are not on the same page. Lawrinson does not support the themes of Showgirl. Lawrinson and Fairburn overlap on two topics: gender equality and paedophilia. Their gender equality sections work well together; Lawrinson’s ironic male perspective on sexism counters (and supports) Fairburn’s frustration at her lived experience. Other than this, Lawrinson could be a supporting act in any show, as there is nothing specific to Showgirl in his routine. Of course, there is no strict rule that the supporting act must thematically support the main act, but if he chose to do so, this would strengthen the show and allow Fairburn’s lines to land with more resonance.

Now, to focus on Fairburn’s performance. Fairburn’s pacing is perfect, and she handles heavy topics with light wit. The two sections that dazzle are the working-class vs. middle-class section, and the true crime section. The central question of Showgirl is: “How did Rachel Fairburn get into comedy?” or “What makes Rachel Fairburn a Showgirl?” But there is a lack of commitment to the answer. Fairburn starts strong–the intention is there– and she changes from a dressing gown into a sparkly tasselled bodysuit. As she works through the topics, Fairburn doesn’t really look for the answer to this question and she eventually admits that the answer eludes her: “I don’t know”. Therefore, the show isn’t about being a Showgirl, performance, or performative behaviour, despite the title. The show has a strong ending, but the preceding sections struggle to work towards the central idea of being a showgirl because the show isn’t really about that idea. If I had to hazard a guess, this is a show about the frustration of repetition and of answering the same questions constantly. For example, there is a brilliant section about air fryers. Fairburn doesn’t care about air fryers, but she is frustrated by people talking about them constantly. Overall, these shortcomings don’t detract from the Showgirl‘s enjoyability. Even if the thematic commitment isn’t quite there, the showgirl theme is fun, sexy, and sassy. Most importantly, the material is good.

Showgirl is a brilliant, lively, and engaging night at the theatre. The audience shook with laughter, and Fairburn’s playful musings on modern topics are relatable and therapeutic. If you’re still riding the Barbie high and want to treat yourself to a fun night out, I recommend Showgirl wholeheartedly. Even if you usually avoid stand-up comedy, make an exception for this show. The lists of venues and dates are available on Rachel Fairburn’s website.

{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}

A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
by Tom Carrao
The title of this winner of Theatre 503’s 2023 International Playwriting Award by Roxy Cook may seem like the set-up to a joke, but the narrative that unspools is instead an affectionate, gently barbed and at base quite sobering portrait of three ordinary souls (and one restless feline) adrift in modern Moscow. There is much affable, satirical back-and-forth commentary on the accepted myths & stereotypes of the Russian spirit & soul. Beset by the indignities of age, opportunism, graft, fatigue, the characters orbit one another, doomed to play out their roles in an unjust, predatory and saturnine universe. The play opens … More A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
by Amy Rye
Peter Pan Goes Wrong first premiered in London at the Pleasance Theatre in 2013, and earlier this year the show made its Broadway debut. Now the production is back in the West End for the Christmas season. Following on from The Play That Goes Wrong, in this production, J.M. Barrie’s Peter Pan is staged by the fictitious Cornley Polytechnic Drama Society and goes awry, disastrously so. The meta-comedy is filled with slapstick comedy, sometimes the humour may be predictable and silly, but it’s universally funny throughout – there is something for everyone here, and the laughs come thick and fast … More PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE
by George Rennie
Drawing heavily from the classic canon of the British supernatural, High Tide’s trio of contemporary Gothic narratives uses traditional storytelling formats to address contemporary themes. Directed by Elayce Ismail, reverent musical interludes accompany tales of apparitions and nighttime conjurings that speak of women from the East of England. Unfortunately, the effect is less chilling and more lightweight, with conventional structures, predictable plot twists and an over-reliance on external forces to drive narrative shoring up some of the less relatable aspects of the genre. Nicola Werenowska’s The Beach House, perhaps the cleanest of the three tales, tells of a mother and … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE
CINDERELLA – REVIEW – LYRIC HAMMERSMITH
by Jenny Skuse
Drum roll please…(Cue a literal drum rolling across the stage.) The Lyric pantomime is one of traditions with the return of many well-loved jokes and skits. Costumes and sets are all made at the Lyric itself by Good Teeth, with set pieces being reused year on year. This year Cinderella gets the Hammersmith makeover, with some success. The costuming is fun and vibrant, with the ugly stepsisters’ equine pyjamas and hoop-skirted ball gowns giving all the wrong kinds of extra you need for those characters. Cinderella’s on stage dress transformation is magical and really well-timed. The Dame, Lady Jelly-Bottom’s, outfits … More CINDERELLA – REVIEW – LYRIC HAMMERSMITH
INTERVIEW – LINUS KARP – DIANA: THE UNTOLD AND UNTRUE STORY
by Amy Rye
Amy catches up with Linus Karp ahead of his performance of Diana: The Untold and Untrue Story, at London’s Clapham Grand. Linus and Joseph of Awkward Productions are also the masterminds behind the new show Gwyneth Goes Skiing. Hello Your Majesty/ Candle Entrepreneur, how are you feeling coming back from a hugely successful fringe and triumphant tour across your kingdom, ahead of performing in front of 700 of your loyal subjects, and before (the list never ends!) opening a brand new show, which has recently gone viral? Exhausted, exhilarated and alive. We’ve had the most ridiculous year – I feel … More INTERVIEW – LINUS KARP – DIANA: THE UNTOLD AND UNTRUE STORY