FringeReview UK
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FringeReview UK 2016
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Conor Lovett lightens his pitch Becket’s exploration of lust, sexual disgust and the intolerable consequences of generation.
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Motherhood: (Un)speakable, (Un)spoken
Moments into this one-woman play, Joanna Rosenfeld - emerging in a poke of fingers from a cagoule of brown paper - over-voices herself giving witness to tens of verbatim experiences we hear. This tells us the baby’s a parasite, sucks all your nutrients, calcium from your teeth for instance, causes injury, often permanent, can kill. This is - literally - epic interior theatre.
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Motherhood:(Un)speakable, (Un)spoken
Ninety seconds into this newly-revised one-woman play, Joanna Rosenfeld - emerging in a poke of fingers from a cagoule of brown paper - over-voices herself giving witness to tens of verbatim experiences we hear. This tells us the baby’s a parasite, sucks all your nutrients, calcium from your teeth for instance, causes injury, often permanent, can kill. This is - literally - epic interior theatre.
![](http://fringereview.co.uk/wordpress/wp-content/themes/fringereview/img/badges/new/OUTSTANDING_SHOW.png)
Conor Lovett rivets with a naturalistic pitch in this cut-down stand-up Beckett diminuendo of an ex-inmate’s prospects. More tour de force in a tour de farce of Beckett’s genius.
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This is consummate storytelling, and Moorthy’s narrative variables attest to pitch and speed, a charactering that gifts all it can to the individual and in some cases real tales. There’s much here we cannot forget.