Edinburgh Fringe 2024
All These Pretty Things
Tracey Yarad
Genre: Live Music, One Person Show, Storytelling
Venue: C Aquila
Festival: Edinburgh Fringe
Low Down
Tracey Yarad’s “All These Pretty Things” is a phoenix rising from the ashes story, taking the audience from Australia and the fallout of a devastating divorce following her husband’s affair with their teenage goddaughter, to New York City and an inspring new life.
Review
Billed as a “phoenix rising from the ashes story”, this solo piece, a story driven by songs, is fascinating and heartbreaking. Tracey Yarad admits that she isn’t an actress – but we see that she is a naturally gifted storyteller – and a fine musician and singer.
The title refers to her lifelong wish to have her own place with her own choice of furnishings and knick-knacks – the sort of pretty things that define our personal style. After her first marriage ends, a chance encounter with a drummer she used to gig with (whose relationship has recently and coincidentally finished) leads to romance and fulfilment – in every way except for children.
She embarks on a course of IVF treatment, but it’s unsuccessful. In her late 40’s now, they decide to adopt their 7 year old god-daughter.
The alarm bells soon start to sound. Her husband sleeps with his mobile under his pillow in case the young girl needs help in the night. Yarad communicates the growing horror of the improper relationship with sensitivity – even her father warns her not to leave them alone.
When the girl is 17, she and Yarad’s husband run away together. It feels like incest – and Yarad is stunned. Divorce papers are served by him and he embarks on an aggressive litigation to squeeze every penny from her. The heartbreak is compounded when they begin to have the first of 4 children together. Yarad’s immediate response is Haversham-esque. She dyes her wedding dress black. Her self-healing begins with purging the now ephemeral “pretty things” and writing the songs that do the emotional heavy lifting in this piece.
The subject matter is generally very well-handled, but the show would benefit from excising any minor elements of self-pity. Yarad is a survivor – the pain is a natural part of the process and it doesn’t need to be flagged. She is a very talented musician and possesses a tremendous voice – she can switch effortlessly between a folk-style with a range to rival Joni Mitchel, to raspy blues, to power ballad. She’s an accomplished songwriter – and although this show is a break-up album, there are green shoots of recovery to be seen.
We are left with a lasting impression – that of Yarad’s generosity of spirit and strength of character that has enabled her to overcome the inhumanity of others – and see a brighter future.
