Edinburgh Fringe 2026
Body Parts
University of Bristol DramSoc
Genre: Contemporary, New Writing, Theatre
Venue: Stephenson Theatre at theSpace @ Surgeons' Hall
Festival: Edinburgh Fringe
Low Down
This show validates children with strained relationships with their mother, yet makes you feel sorry for their mother too.
Blending technology with theatre, this show uses an experimental format to cover a topic as old as time: dysfunctional families.
Review
Body Parts is produced by the University of Bristol DramSoc. It utilises facial mapping projection to emphasise parts of the story in this newly developed theatre piece. The cast of characters includes an aging mother (May), her adult children (Carmel and Margot), and her eldest daughter’s on-and-off again partner (Russell). The story begins with May and Margot visiting Carmel’s newly purchased fixer-upper house in rural Scotland, and examines the dysfunctional relationships of their family and the people stuck in the middle.
Many elements of this production go far beyond the years of this young, student-led production, including the acting and the portrayal of aging as a woman. The performance takes an empathetic look at the challenges of motherhood and aging, while still acknowledging the experiences of the children in strained family relationships. Méabh Brolly as the newly religious, youngest daughter desperately praying for her family throughout the show is a standout. All of the actors give dynamic performances. However, they often perform reflective or tender moments quite softly, which is not suitable for a stage performance with no microphones. The writing of the dialogue is a strong point of this show, so it is a shame if some lines get lost in the back of the audience.
Between the acting and the writing, though, the characterisation and the exploration of family dynamics is nuanced and clear from the beginning. The use of the facial mapping projection is an inventive additional method which gives the audience further insight into the inner thoughts of May. It highlights the themes of her journey with aging and self worth. As one of the most unique elements in the show compared with typical Fringe offerings, it could have been utilised far more than it is, as it only appears 3 times. Citing the use of the projection, Body Parts is described by its production team as a mixture of live performance art and theatre. However, the plot is underdeveloped and not particularly prominent in the show, and the story ends rather abruptly. With the quality of the performance, themes, and integration of the facial mapping, Body Parts contains good theatre and good live performance art, but there isn’t enough of either one.
The production team also describe Body Parts as ‘autoethnographic,’ stating that they have continuously developed this show to include elements of their real experiences. The blending of technology with theatre, and the constant development of the show is a commendable and promising facet of this young theatre company. Though the format of this show is experimental, the talent is a stable force which ties everything together for an enjoyable performance.
