Gush is a beautiful ode to female power and desire inspecting the joy, fear and circular nature of motherhood. We follow Ally, a woman in the late stages of pregnancy, questioning her sexuality alongside the fundamental relationships in her life. Effortlessly funny and moving, Jess Brodie’s writing echoes the work of authors such as Dawn O’Porter, speaking to the female experience in a realistic and excellently indulgent fashion.
Director Becky Hope Palmer complements Jessica Hardwick’s acting in a way which suggests they were made for each other. Hardwick’s stamina is impressive to say the least, and she is radiant throughout. Going through almost every emotion on stage, the energy she creates in the room is electric and infectious.
Every moment on stage has been thought out and treated with utmost care — the result of which is the full captivation of the audience from start to finish. Becky Minto’s design is inventive, putting a twist on minimalism in a way which is unique and innovative. The hard sides contrasted with the soft middle of the cushions creates a contrast which Palmer plays upon in her direction and adds texture to the play which the audience can feel. Niroshini Thambar’s sound design offers a separation between scenes which provides a much needed breath between the action. This is complemented by Renny Robertson’s lighting, which anchors the tone of each scene and prevents the production from feeling static.
The script deals with so much at times, that sometimes what Brodie is trying to convey becomes lost. Although the production does reflect the reality of a multifaceted life, you are left wondering how the realisation of becoming like one’s own parents relates to the ideas of queer identity and sexual exploration which dominate the rest of the play.
Overall, Gush is a fresh, new, one-woman play which breaks down boundaries and has not one dull moment.
Photo by Mihaela Bodlovic, courtesy of the Traverse Theatre.