Plewds. That’s the title. It’s a funny word, one which I have absolutely zero clue the meaning of. It isn’t explained. I kind of wonder if its just a jumble of letters creator Kathrine Payne spooned together in a bowl of Alphabetti Spaghetti. Somehow, that image does manage to sum up the feeling of the show.
Plewds is a spinning top that never stops. From artistic raging against the limits of a sit down and watch performance, to a detective on the case to solve her own mind, to a 6-year-old X Factor contestant who wants another chance to sing, Kathrine wears many hats in the show. It’s purposefully choppy and constantly moving. I think this is a good thing- it holds your focus well because of how mercurial and direct it is.
The start of the performance makes me nervous to watch, as it seems like it might be one of those performance art pieces so precoccupied with being challenging and artistic, that it wouldn’t have room to be engaging to watch. Actually, I’m quite wrong. Through the fog of bits and costume changes and personas being shuffled about, is a sensitive performance about abuse within queer relationships.
I think Plewds’ presence at the festival highlights some of the gaps in representation of queer people today. Although many froth at the mouth to include LGBT+ stories in their showcases, fewer are comfortable doing so in a way that is not one note, positive, ‘inspiring’. They’re too afraid of losing the ‘progressive’ label or else only want to rainbow-wash something generic. It’s a shame because what Plewds does is much more interesting.
It’s quite funny that a show called Plewds and which is at least 1/3 X Factor audition montage would have such a serious and raw story to it. Plewds. Plewds. I can’t stop saying it now. Plewds. Anyway, see it if you’re up for something a bit off the wall, something that’ll grow on you. Like mushrooms- in this case, the magical kind.
Plewds, Summerhall, 19:25, until August 26.
