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Emily Woof’s quirky comedy brings both laughs and genuine emotion to the stage, though it falls short of fully delivering on its promises.Summary
Rating
Good
Emily Woof‘s Blizzard ventures into absurd comedy in a captivating odyssey that traverses the spectrum of human emotion, weaving together moments of uproarious laughter, poignant reflection, and lingering questions.
At its core, the narrative unfolds around the unlikely union of two individuals whose relationship must endure a series of intense challenges over two decades. The looming spectre of the husband’s debilitating illness casts a shadow over their lives, forcing Woof’s character to confront her fears and insecurities as she reluctantly assumes his responsibilities. This dynamic sets the stage for a rich exploration of love, loss, and the complexities of human connection.
Dotty (Woof’s husband and distinguished neuroscientist) falls ill, preventing him from attending a pivotal conference where he is slated to deliver a significant speech on “Neuronal Avalanches.” This speech holds particular significance as his discovery took place during a brain scan performed on Woof’s character on their first date. Reluctantly, Woof assumes his role, embarking on a transformative journey to Switzerland.
Along the way, she portrays a diverse cast of characters, each adding depth and complexity to her personal odyssey. Notably, one of the best of these is an eccentric artist who captivates audiences with her mesmerising performances in the town square, embodying animal characteristics through facial expressions and sounds —a genius display of clowning heightened by Andrew Croft‘s masterful lighting design. These encounters serve as mirrors, reflecting aspects of Woof’s character and challenging her to confront her own identity.
However, amidst the laughter and introspection, the play struggles to fully develop its characters, leaving them enigmatic and ambiguous. Woof’s character, in particular, remains a mystery, her inner turmoil and aspirations obscured beneath the surface. This lack of depth left me yearning for a deeper exploration of her motivations and desires.
Furthermore, the production grapples with inconsistencies in its execution, from costume choices to scene transitions, which detract from the overall experience. In a performance dominated by Woof’s magnetic presence, these discrepancies threaten to diminish the play’s impact, overshadowing its poignant moments with discord. As the play concludes, we’re left pondering the potential of Woof’s absurd comedy — a narrative brimming with humour, humanity, but also untapped possibilities.
Despite its flaws, a clearer vision and tighter cohesion could ensure a lasting impression, inviting viewers to explore the complexities of the human experience and the transformative power of laughter. There’s evident room for growth and exploration, suggesting future iterations may fully realise the brilliance of this captivating theatrical endeavour.
Written and Performed by: Emily Woof
Director: Hamish McColl
Movement Director: Sian Williams
Sound Designer and Composer: Theo Foley
Lighting Designer: Andrew Croft
Set and Costume Designer: Ellie Wintor
Blizzard plays at Soho Theatre until 25 May. Further information and bookings can be found here.
