MorganMcDowell.png)
Bigfoot or Sasquatch is a legendary large, hairy, human-like creature said to inhabit remote forests, particularly in the Pacific Northwest of North America. Typically described as two to three metres tall, with a powerful build, long arms and exceptionally large feet, this phenomenon has become a staple of American folklore. In this latest offering from the team of Xhloe Rice and Natasha Roland, the beast is used by two teenage girls to create hysteria in their small town. The narrative recalls Arthur Miller’s The Crucible and Lillian Hellman’s The Children’s Hour, both of which examine the corrosive consequences of rumour, suspicion and collective hysteria with considerably greater dramatic and psychological depth. What makes this show stand out, however, is not its commentary on crowd panic and mass manipulation, subjects that feel particularly pertinent in the current political climate and the digital age, but the sheer inventiveness of its performances. Following their recent success at the Edinburgh Fringe, this amazingly inventive and talented twosome bring their new production to London. With their characteristic blend of mime and clowning, they conjure an entire American community through tightly choreographed movement, precise physical comedy and impeccable timing. A sleepy mayor with a comb-over, a smarmy Emergency Services bureaucrat and a woman obsessed by her dog are among a host of instantly recognisable characters. The satire of small-town and governmental stereotypes is spot on, but it is the pair’s physicality, precision and perfectly judged comic timing that make the biggest impact. Their brilliant deadpan expressions allow the audience to fill in the gaps, provoking gales of laughter, while their ability to hold a moment just long enough to let the absurdity of each situation land with maximum effect is remarkable. The mime is meticulous and there is a wonderfully economical quality to their comedy. A gesture, a glance or a perfectly timed pause can conjure a character or turn an innocuous situation into something hilariously ridiculous. They know exactly when to push a joke and, even more importantly, when to do nothing at all and let the audience discover it for themselves. The physicality is playful without becoming distracting, while the choreography is so precise that even the smallest movement feels purposeful. Bigfoot Ripped My Dog In Half I Saw It may touch on some hot-button issues, but its greatest strength is its mastery of physical comedy. Xhloe and Natasha turn two performers into a whole town, populating the stage with a gallery of wonderfully absurd and endearing characters. Their comic timing makes the extraordinary seem effortless, and the result is both riotously funny and surprisingly resonant.
Rated: ★★★★
Reviewed by J.C.
Image © MorganMcDowell
When, Where, Getting there:
MorganMcDowell.png)
%20Photo%20by%20Helen%20Murray.jpg)
%20and%20Ian%20Toner%20(Reece)%20-%20credit%20Alex%20Brenner.jpg)
%20and%20Cast%20of%20Death%20Note%20The%20Musical.%20Credit%20Manuel%20Harlan.jpg)
%20and%20the%20company%20of%20Kimberly%20Akimbo_credit%20Marc%20Brenner.jpg)