Edinburgh Fringe 2024
Natalie Palamides: WEER
Natalie Palamides
Genre: Clown, Comedy, One Person Show
Venue: Traverse Theatre
Festival: Edinburgh Fringe
Low Down
In WEER, Natalie Palamides is half man, half woman and all rom-com drama, in this clown and storytelling tour de force. In a clever and nuanced way Palamides manages to really question the fable of romantic love and everything we do for it. Her clowning skills are second to none, she manages to subvert clowning while keeping the key aspects of it.
Review
It’s New Year’s Eve 1999 and Mark and Cristina, a tumultuous couple, take you through their love story. In WEER, Natalie Palamides is half man, half woman and all rom-com drama, in this clown and storytelling tour de force. As the clock strikes midnight a fight ensues, making the lovers remember their whole relationship.
Palamides has created a genius satire of rom-coms and romance films. Nods to Notting Hill, How to Lose a Guy in 10 Days and The Notebook were apparent. She goes through all the beats of these genres while still managing to surprise the audience with the story. WEER highlights how problematic these stories are, how passion and aggression are thought to be the same thing, excusing the man’s toxic masculinity and as a response reproducing toxic femininity in women as well. In a clever and nuanced way Palamides manages to really question the fable of romantic love and everything we do for it.
Enhancing its deeper meaning, WEER is an excruciatingly funny and entertaining show. Palamides’ clowning skills are second to none, she manages to subvert clowning while keeping the key aspects of it. A lot of the most comedic moments come from seeing her manage to tell this story dressed half and half, demonstrating incredible physical comedy skills. The set is also a clever, interactive and hilarious part of the show. Parts of it are covered and through ropes they are progressively discovered as it goes, seeing her interact with it as well. In classic Palamides’ fashion the show is messy in the best way: props, costumes, liquids and powders fly throughout, making the stage a seeming war zone. Her interactions with these elements make for some of the most surprising and hilarious moments.
The romance film elements are incredibly exaggerated, through clowning tools, making for jaw-aching comedy but also inviting the audience to question why we are always telling women this is what they should want. The cleverness of the writing and the performance are more noticeable if you know the references, but they are absolutely not necessary to enjoy the show. Palamides is mesmerising and in incredible command of the audience.
Audience participation is an important part of the show, with some characters chosen from the viewers. In comparison to most shows that use this resource, Palamides has written in parts where the chosen audience member has to get a bit more creative, which makes it incredibly interesting to watch and keeps the show fresh every night. The evening I attended, a man was very committed to being the ex on the phone, delivering an endearing moment.
As a fan of Nate, Palamides’ previous show, I had very high expectations for WEER and they were met and some. Nate’s subject matter was darker and more uncomfortable to watch, while softer on the storytelling. WEER might not be as dark, but it manages to do so much: dissecting the romantic fable, giving an engaging story, satirising pop culture, engaging in virtuoso clowning, all while not slowing down on the fun and laughs for even a second. WEER is incredibly unique and pitched to perfection, delivering yet another show that only Natalie Palamides could do.
