Perth Festival review: Ursula Martinez, Free Admission ·
Studio Underground, February 14 ·
Review by Robert Housely ·
The art of bricklaying, typically, is practised by tanned alpha men in stubbies shorts and blue singlets on dusty building sites.
When a well-manicured gay woman with hair in a neat bun wearing a white business suit does it on stage, the stereotypical world order has been seriously disrupted.
Although this contradiction is extremely unlikely, it is possible, sometimes. Sometimes, anything can happen.
That is precisely the point of acclaimed UK experimental theatre maker and cabaret performer Ursula Martinez – a Perth Festival artist-in-residence – in this one of her several festival offerings.
The starting point for this Mark Whitelaw-directed show was her realisation that “the word sometimes reinforces the idea that there is no absolute truth … that life isn’t fixed … that we are all prone to contradiction and all capable of change.”
Her performance comprises a strategically entangled compendium of personal anecdotes and observations, many of which begin with the word “sometimes”.
All the while she uses small concrete blocks, a trowel and mortar to fill in a cut-away section of a partition wall between her and the audience.
Slowly but surely you see less and less of her as she gradually builds a wall which, in keeping with her intent, is a complete contradiction to her unabashed personal exposé.
Her anecdotes can be bawdy, are frequently topical and – whatever the subject matter – are often hilarious.
“Sometimes”, she says, “the world would be better without penises and religion; and I’m not saying get rid of penises.”
“Sometimes”, she says, “I get jealous of Catherine Tate because I once did a comedy show with her 20 years ago. Sometimes, I’m not ‘bovered’.”
She remembers racist childhood ditties from the 1970s, reciting them as though still in the schoolyard with friends.
She reveals her “obsession with having a clean bum hole” as though intimate personal hygiene was open to public debate.
She mentions her current divorce proceedings with ex-partner “princess mental case”.
Nothing is off the table in what is a smorgasbord of personal admissions.
Her command of multiple accents complements many of her stories whether parodying her Scottish sex-education teacher or channelling her Spanish mother, who has a propensity for “hitting the nail on the head”.
Some playful audience engagement and an outrageous finale contribute to making this thoroughly accessible show well worth the price of admission.
Pictured top: Ursula Martinez trowels it on.
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